To write is to observe! Become an Opinion Leader!
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COURSE DURATION |
6 Months |
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START DATE |
October |
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APPLICATION DEADLINE |
EU Citizen: 10 September |
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ADMISSION EXAMS |
For booking the admission exam please contact: orientation@polimoda.com; |
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COSTS |
€. 12.000,00 Course |
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LANGUAGE |
English |
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DOWNLOAD |
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Notes |
At the end of Masters students will be introduced to head hunting agencies which will guide them in finding a job appropriate to their profile. |
Fashion magazines have been in existence for over 150 years, and they have never been suppressed by blogs, just as the radio stars have not been killed by video. Today the media all converge and interconnect, therefore what makes the difference is the content, which involves increasingly more user-generated narrowcasting rather than corporate broadcasting. As a result, while the fashion input and output system among humans, society and industry must certainly be read and understood, in these times of epochal changes it must also and above all be written. It's true that the written word describes the image, but it's also true that it can give rise to imagination, which is exactly the kind of positive energy fashion needs to write the pages of its future.
Fashion writers are much more than just journalists or copywriters. They are also opinion leaders, like Suzy Menkes, Cathy Horyn, Caroline Evans and Colin McDowell, as well as Imran Amed and Scott Schuman, women and men who, starting from a book, a magazine or a blog, can observe the whole fashion system, vivisect a single collection, interview designers and managers, take sides or distance themselves, but always with a cutting and singular style that will either sow the seeds of doubt or launch sharable perspectives.
If the media is the content for McLuhan, fashion as the content is already the media. It has always been this way, but since Fordism has been replaced by Tomfordism, it has moved far beyond, towards the post-industrial, post-modern and post-human era, so writing about fashion now means to write [text]ures, where contents and words melt together as one.
The aim of this course is to create specialised writers for the fashion sector, for its media system (magazines, newspapers, blogs and digital issues), for its business (brand communication, storytelling and PR), and for its more cultural and educational aspects (research, magazines and books).
In order to be complete, the master course is organised in four interconnecting units:
• Fashion Theory: this course researches what fashion is in cultural, sub-cultural, historical, sociological and anthropological terms. Its links with art, technology, photography, and the other visual expressions are addressed, explained and discussed.
• Fashion Practice: this course focuses on how fashion works, on its actors and players, times and spaces, moments and processes, on the connection between design, production, marketing and communication, and on the analysis and perfecting of styles and trends.
• Writing Theory: this course is based on documentation, grammar mechanics, format, document design, rhetoric, correct language, tone and register for a given purpose, namely, the English micro-language of fashion.
• Writing Practice: this entails quality-based researching, collecting and organising of sources, plotting a mind-map, developing a personal point of view though creative-thinking tools, and finally, writing an original document from this process. You are now becoming an opinion leader!
According to one’s personal skills and the level achieved in the different teaching modules, after finishing this master the candidate can aim to work for a fashion brand, a communications agency, the fashion media (e.g. a magazine or newspaper) or as a freelance service provider. The figure of the fashion writer combines the skills usually required for journalists, copywriters, researchers of styles and trends, independent writers, and bloggers. In the long term, the fashion writer could also work for a reference magazine and with the potential to become its editor in chief.
Fashion Writing: documentation, grammar mechanics, format, document design, rhetoric, correct language, tone and register for a given purpose, writing techniques for articles and papers.
Fashion Editing: review of the written content according to a given format.
Fashion Curating: principles of artistic direction, writing for catalogues and museum research.
Press to Impress: the world of magazines, from the initial idea to the editorial (practical exercise), writing texts for a magazine as an editor or journalist.
English for Fashion: the English micro-language of fashion.
Fashion Theory: the who's, what's, when's, where's and why's of fashion.
Fashion History: the ever-changing role of garments and accessories in shaping one's identity.
Art for Fashion: the spirit of the age, when forms become attitudes, a common ground between art and contemporary fashion.
Sociology of the Imagination: a semiotic approach for analysing the image, the role of subcultures, underground zones, and anthropology in the technological era.
Creative Thinking: mind tools for stimulating creative thought and efficient teamwork.
Fashion Photography: capturing and portraying human-scapes, landscapes, and urban-scapes in a contemporary manner.
Fashion Styling: body vs. garment, face vs. appearance, habitat vs. habitus, the conceptual elements of contemporary fashion.
Fashion Trend Forecasting: symbols, colours, the human senses, a method of research and analysis for detecting long-term fashion trends in the global environment.
Fashion Communication: verbal and non-verbal expressions, traditional and trendy fashion promotion, advertising and storytelling, front-men, celebrities, fashion events, PRs, the work of a communications agency
Digital Communication: how to communicate in blogs and social networks, from the script to the creation of videos, websites and research engine optimisation.
Strategic Branding: the archaeology of the future, times of disruption in modern history as springboards for redefining a fashion brand identity, the system of archetypes, a philosophical approach to fashion and the building of luxury brands.
Fashion Production: designers, textiles, fabrics, fairs, the fashion product from its conception to its marketing, with focus on design terminology
Fashion Research Project: performing of quality-based research, collecting and organising of sources, plotting a mind-map, developing a personal point of view, writing an original document, forming a personal style of writing (the final project will entail the writing of a paper on a topic selected from a given research framework which, depending on the level achieved, could be published).
ELIGIBILITY
The master is open to graduates (or equivalent) holding a valid academic degree. Applicants with no academic degree, but with significant working experience in the fashion, luxury goods and communications industry, will be considered. Knowledge of English necessary.
ADMISSION
Submit your written motivations by email, a phone interview with the course coordinator will be arranged as soon as possible.
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