Archive for the ‘Staff’ category

Last minute Halloween makeup ideas from the horrors at LCF

That’s right, Halloween is just around the corner and we know what it’s like – you should be excited but you’ve been so wrapped up and busy getting back into uni life that suddenly it’s a day before the big All Hallows Eve, all the good outfits are sold out, it’s too late to mail order and you’re stuck with a pair of fangs, some eyeliner and a ripped up sheet.

But fear not! Thanks to the wonders of Instagram, we have spotted some wonderful creativity coming out of our BA (Hons) Hair, Make-Up and Prosthetics for Performance course, just in time for Friday. We were so impressed with their ideas that we have enlisted their help to get us in the party mood and give us some much needed tips on using make-up to terrify and amaze our friends and fellow party-goers.

1. The half-dead

@muamaya

@muamayaman

What with the clocks going back and the season change, we’re all feeling pretty wretched. With @muamayaman’s look you really can be pretty and wretched – a half and half skeleton face with incredible detail. The artist told us:

This one was a workshop creating a skull influenced by Billyb’s makeup in Lady Gaga’s music video “Born this way”. I used my aqua pallet and ‘carbon’ M•A•C eye shadow finishing off with Collection 2000′s liquid eyeliner to add the cracked detailing.”

2. Smiling through the pain

@muamayaman

@muamayaman

Another one from @muamayaman, it’s simple and horrifying and cute, all at the same time:

“This is Halloween inspired makeup on my sister. I’ve used Liquid latex, and my Derma greasepaint pallet, finished of with my M•A•C “Russian Red” lipstick.”

3. The full skull shocker

@tabithalimakeup

@tabithalimakeup

@tabithlimakeup has taken on the full skull, really working into the design to create shadowy crevices and puckered bones to set your teeth on edge – don’t creep up on anyone in the dark. Tabitha told us:

“The look is part of our enhancing and distorting a performer project. I used aqua colours for the general basic colours, shapes and shadows, and then I defined the lines using mac eye shadows and a felt line.”

4. The beautiful and the damned

@hollynicoleish

@hollynicoleish

Perhaps you’re more about creating something hauntingly beautiful? @hollynicoleish has some inspiration for you –  a creation with black lace, whited out face and bewitching eyelids:

“It was a fashion and editorial look using lace on the skin and a lace pattern over the lid.”

5. Zombie on ice

@kessiaharthur

@kessiaharthur

We don’t even know where to start with this one… it’s just so gruesome. If you want to really terrify, try the frozen zombie from @kessiaharthur (kessiahfilmdesign.co.uk) who created this on one of our Short Courses - Special Effects Makeup for Film and TV tutored by Susanna Peretz. Chilling.

6. Straight up gore

@eddlezteddlez

@eddlezteddlez

@eddleteddlez (edmellormua.weebly.com/portfoliohas got the gory look nailed – or rather, slashed –  with this one. A handy way to horror-up whatever you’re wearing on the night.

We’ll leave you with those images burning their way into your mind’s eye. Before the nightmares get to you, we’d love to see your Halloween creations so give us a fright on Instagram @lcflondon_ and Twitter @LCFLondon.

Happy Halloween fashion horrors!

The post Last minute Halloween makeup ideas from the horrors at LCF appeared first on LCF News.

Fashion and the Senses Symposium 2015

FATS

The Fashion and the Senses symposium will be an international multi-disciplinary meeting and discussion forum for academics, practitioners, industry professionals and postgraduate students with a shared interest in fashion and the senses. This initial dialogue will inform ‘The International Conference on Fashion and the Senses’ taking place at London College of Fashion in 2016.

Sensation is fundamental to our experience of the world. Shaped by culture, gender, and class, the senses mediate between mind and the body, idea and object, self and environment.” (The Senses and Society).

Fashion too, sits at the boundary between the body and the external and social world. Drawing on fashion in its broadest sense, with cultural, design and brand marketing perspectives, the symposium presents opportunities to explore the heightened interest in sensorial research and practice. These perspectives within fashion research seldom merge, yet bringing together what are often quite distinct discourses encourages debate and cross-fertilisation of ideas. Guest speakers from the forefront of their disciplines, along with early career researchers have been invited to present their work and reflect upon this emerging field. With an emphasis on panel discussion, knowledge exchange and audience debate, the symposium aims to explore differences and convergences and suggest avenues for future research and collaboration in this area. Attendance at the symposium is open to all, although space is limited. Registration will open imminently.

Questions to be debated include:

  • What are the social, cultural and political dimensions of sensory engagement with fashion and dress?
  • How might multi-sensory research be used to reflect upon existing fashion theory?
  • Can making and thinking through the senses encourage critical thinking and innovative design?
  • How might sensory design be applied to solutions for problems such as sustainability, wellbeing and ethical production?
  • How are fashion brands using sensory dimensions to connect with consumers?
  • What are the opportunities, challenges and impact of multi-sensory environments?
  • What does the future look like for sensorial fashion spaces?
  • Are there innovative sensory methodologies that can be applied to the study and practice of fashion?
  • How might inter-disciplinary knowledge exchange in this field encourage future collaborations within and between the fashion academy and the fashion industry?

Speakers |

Keynote

Professor Michael Bull – Professor of Sound Studies School of Media, Film and Music
University of Sussex, UK. Managing Editor of The Senses and Society Journal.

Keynote

Professor Joanne B. Eicher – Regents Professor Emeritor Department of Design, Housing and Apparel, University of Minnesota, USA. Pioneer of the sensory approach in dress studies. Editor-in-Chief of Encyclopedia of World Dress and Fashion.

Keynote

Professor Bertil Hulten – Professor of Marketing Department of Marketing
Linnaeus University, Sweden. Pioneer in the field of retail and sensory marketing research.

Keynote

Professor Charles Spence – Professor of Experimental Psychology, Head of the Crossmodal research laboratory, Director of Graduate studies and Fellow of Somerville College, University of Oxford, UK. Pioneer of experiential psychology using multisensory approaches.

Dr Jenny Tillotson – Reader in Sensory Fashion
Central Saint Martins, University of the Arts London, UK. Pioneer of eScent® wearable scent technologies.

Dr Eugenie Shinkle – Reader in Photography Department of Photography and Film
University of Westminster, London, UK. Researcher in the field of fashion photography, affect and the senses.

Ninela Ivanova – PhD candidate
Design for Body & Material Research Centre Kingston University, UK. Researcher in design mechanisms intersecting fashion material, sensory experiences and the human body.

Important dates |

1st January 2015 – Early bird registration closes

23rd March 2015 – Registration closes

27th March 2015 – Symposium

Registration and fees |

— Industry £150
— Industry early bird £130
— Academic £120
— Academic early bird £100
— Non UAL student £35 (places limited)
— UAL staff and students no fee (places limited)

The registration fee covers documentation, coffee breaks, lunch and drinks reception.

For enquiries email fashionandsenses@gmail.com. Registration will open imminently. Review the blog for further updates on when registration opens.

Date and Venue |

27th March 2015 09.00-19.00

Rootstein Hopkins Space, London College of Fashion, 20 John Prince’s Street, London, W1G 0BJ.

Located in the heart of central London, at Oxford Circus (Central, Victoria and Piccadilly London underground lines).

Organising Chairs |

Bethan Alexander Graduate School, London College of Fashion, UAL, London, UK

Sara Chong Kwan Graduate School, London College of Fashion, UAL, London, UK

Organised by the London College of Fashion with the support of the LCF Research Office.

Get baking for Children in Need

Children in Need Bake Sale – 14 November
High Holborn Showroom, 10am – 3pm
Open to staff and students  

children-in-need-600

Get baking and help us raise money for Children in Need!

We will be running a cake stall in the Showroom at High Holborn, selling  home-made cakes and other yummy goodies for this worthy cause. There will be a tombola with prizes including £500 towards any UAL short course as well as goodies from Twining’s, Wetherspoons and Sainsbury’s.

If you would like to help out, donate a prize, bake a cake or just want more information, please email accommodation@arts.ac.uk

 

Dr Corinne Silva, Post Doc Research Fellow at LCC included in Aesthetica’s The Next Generation

Dr Corinne Silva was awarded a PhD from London College of Communication this year and has since become a Post Doctoral Research Fellow and  has been included in Aesthetica’s The Next Generation: emerging photographers that are shaping the future of the image-based practice. Find out more about Corinne’s experience at LCC and her flourishing career.

  • Tell us what it means to you be included in Aesthetica’s The Next Generation

One of the intentions with my work is to rupture specific ways of looking, of reading photographs and reading landscape, so it feels like an acknowledgement of my contribution to  contemporary photographic discourse.

  • Where do you mostly work/research, in your studio/at LCC or in the library, if a library, which is your favourite?

I love the Stuart Hall Library at INIVA, it’s comfortable and homely, but just library-ish enough to create the right atmosphere for disciplined work. And they have such a great collection of exhibition catalogues and artist’s films.

I have a studio in Dalston, which I share with a friend and collaborator, artist and video editor Lara Garcia Reyne. We begin most days discussing our joint or individual projects. I also have ‘critical friendships’ with my peers at PARC (Photography and the Archive Research Centre) and UAL. This space to discuss and be challenged is so important, and it keeps me excited about my work. It’s hard to be a freelance artist working alone, trying to make things happen. Discussion and collaboration with peers keeps the energy going and reminds me how much fun it is.

  • Why did you choose to study your PhD at LCC? Was it a good experience?

LCC felt like the obvious choice given its reputation for photography, the impressive list of artists teaching there, and the vast experience and specific research interests of my supervisors. I went to an open day and had a really good discussion with Professor Angus Carlyle who was very enthusiastic about my project and helped me shape my research question.

I have always hated institutions – the buildings as much as the social structure. They make me want to flee immediately. But I have a completely different relationship with LCC. It has a good – slightly messy, slightly chaotic – energy. All the people I work with are so committed to what they do, and there is an academic rigor as well as an understanding of the value of practice as research.

The joy of being able to access such impressive practitioners and theorists at LCC and across UAL made my PhD a rich experience. Alongside my own research PARC-led events, I also collaborated with members of TrAIN (Research Centre for Transnational Art, Identity and Nation), organising cross-disciplinary conferences and events around our shared research interests. These connections have endured and I am now part of a wider inter-disciplinary research community across the University.

  • What was the transition from PhD researcher to Research Fellow like?

As an artist doing a practice-based doctorate, completing my PhD didn’t draw a line under the work. All my individual photographic and video projects pivot around the same inquiries. One project always unfolds a new set of questions, which I then try and tackle in the next work. So while perhaps there wasn’t the same sense of satisfaction of completion, it has meant that there’s no rupture; with the support of the Fellowship I have simply carried on researching and producing.

I have been enormously lucky to have the continued support of Professor Val Williams and PARC. Through a partnership with two public space galleries and PARC, I’m now planning a solo show and publication of Garden State, work I made as part of my doctorate. I’m also developing an ambitious new art production and networking project, Rocks & Fortresses. Moving between art and academic spheres suits my research-based approach. This new work will be about making links between art and academic institutions, and presenting work through different platforms.

Stephen Reid launches scheme to diversify UAL interview panels

Interview Panellist Pool

UAL interviews over 1,000 applicants and appoints over 300 new colleagues every year. To select the best person for the job we need our interview panels to include staff from diverse backgrounds who can draw on a broad range of perspectives.”

Stephen Reid, Pro-Vice Chancellor Strategic Development and UAL Race Champion.

Executive Board has set an objective that by September 2015 all UAL interview panels will include staff from diverse ethnic backgrounds. To support this, the Diversity Team and HR are recruiting staff volunteers for the en>route Interview Panellist Pool.

The Pool will be made up of staff from black, asian, and minority ethnic (BAME) backgrounds who are trained to participate in recruitment panels across UAL. The Pool is open to all staff from under-represented BAME backgrounds who have worked at UAL for more than nine months.

Members of the Pool will be asked to participate in two to three recruitment panels each year. The pool will be available for all recruiting managers to use from summer 2015.

As well as supporting improvements in recruitment practices, members of the Pool will gain a range of professional development opportunities, such as:

  • Participation in the ‘Selecting the Best’ course which provides in-depth training in recruitment and selection.
  • Learning about how different departments work and their priorities when recruiting new staff.
  • Working closely with senior managers and department heads.
  • The satisfaction of helping to appoint a new colleague.

To join the Pool, or find out more, please contact Bethan Williams on b.j.williams@arts.ac.uk ext 9865 or visit the staff intranet page

Journalism Guest Speaker Review // The VICE Vision of Journalism

IMG_1819

VICE’s Bruno Bayley gave the second talk in this year’s LCC Journalism Guest Speaker series. Image © Diana Tleuliyeva

On Tuesday 21 October, LCC welcomed Bruno Bayley, European Managing Editor of VICE for the second lecture in the Journalism Guest Speaker series. Third-year BA (Hons) Journalism student Diana Tleuliyeva reports.

Bayley’s lecture on the VICE vision of journalism was hotly anticipated by many – the audience ranged from UAL to City University and even Bristol University students. Everyone was intrigued to get an insight into the most provocative magazine in the country.

Since the time of its establishment in the UK in 2002, VICE magazine has undergone a lot of changes. It’s gone from being a magazine “hated for its humour” to being innovative in the way news and pop culture is covered.

“A part of my job is to make the magazine better without making it a different magazine. So, it’s about balancing, keeping that tone and the things people liked about it but actually improving the quality of it: better writers, better photographers,” said Bayley.

Bayley believes the video content on VICE has helped massively to change people’s perceptions about the magazine. A recent documentary about the Islamic State is one example.

“When I started working at VICE, there were only a few serious articles, but now we have documentaries and even a news channel. A lot of people will be surprised how VICE has changed.”

IMG_1815

A packed Main Lecture Theatre for Bayley’s talk. Image © Diana Tleuliyeva

VICE is known for championing the “immersionist” school of journalism and Bayley stressed this throughout the lecture: “I’d rather commission a story when someone says ‘I’m going to go to this place and do this’ rather than pieces written from a removed situation. Be immersive as much as possible.”

So, how do you get a job at a publication like VICE? Bayley recommends being proactive and useful in the workplace and doing as much work as possible.

“A lot of the journalists were interns who did well and then became regular contributors, usually progressing from the online version and then writing longer features for the magazine.”

Internships are advertised online throughout the year, giving opportunities to work for one of ten channels. Bayley himself started by writing reviews and conducting vox-pops for VICE in 2007.

Good engaging ideas are a part of the magazine’s DNA. Bayley explained: “We like to cover things that either other people haven’t covered hugely, that people wouldn’t read about elsewhere, or cover a story in a slightly different way.”

Many still accuse VICE of being too biased in comparison to the mainstream media. Obviously, objectivity is the goal of any serious publication and VICE is not an exception:

“We try to be unbiased. For example, in the Syria issue, we had an article written from Syria by pro-regime and rebel people. It’s a good example to show that we try to be as representative as possible, showing different sides.”

Founded as a fanzine in Montreal in 1994, VICE now distributes a free monthly magazine in multiple languages in 29 countries. Its ten vertical content channels cover various topics from food to technology.

In 20 years, VICE has become a global success, engaging millions of young people across the world.

Words by Diana Tleuliyeva

View the full Journalism Guest Speaker series

Read a review of ‘BBC News and the Digital Future

Read about BA (Hons) Journalism

 

The post Journalism Guest Speaker Review // The VICE Vision of Journalism appeared first on London College of Communication Blog.

The Art of Dress, a fashion film

LCF alumnus, Gsus Lopez, has created a fashion film for LCF’s Art of Dress exhibition. The exhibition, which is currently touring five international cities of style, celebrates that iconic item, the dress.

LCF talent in the form of both alumni and academics are involved in every stage of the exhibition as it visits New York, Dubai, Shanghai, Florence and London.

Gsus’ Art of Dress film stars Holly Weston, Keira Duffy and Jose Wickert and features some of the incredible dresses from the exhibition. Keira, as the lady in waiting wears a dress from Casey Gan (BA Hons Fashion Design Technology: Womenswear 2012)  whilst Jose as footman wears both Alexis Housden‘s (BA Hons Fashion Design Technology: Menswear 2013) pink menswear and Harriet O’Connor’s dress. Holly as queen wear’s Rachel O’Mahoney‘s ‘Elizabeth’ dress.

Gsus graduated from part-time BA (Hons) Fashion Media this year and has since gone on to create a successful kickstarter project, the film OUT.

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Students from RMIT University, Melbourne visit LCC for graphic design workshop

RMIT 2014

RMIT students combine word and image. Photography © Vladimir Molico

London College of Communication recently hosted a group of students from RMIT University, Melbourne, Australia for a word- and image-based design workshop.

The students collaborated with MA Graphic Design Lead Tutor Vanessa Price to generate material in response to the immediate vicinity of the Elephant and Castle.

We asked Vanessa to tell us more about this workshop and the research project from which it developed:

Through the cityscape of the Elephant and the texts and narratives of its everyday life, the RMIT workshop re-imagined how graphic design could enable us to become more ‘writerly readers’ of our visual culture.

The collaboration and knowledge-sharing with RMIT is ongoing as students continue to develop the project back in Melbourne.

‘Writerly Readers’ is the ongoing research project I lead at LCC. The research has arisen from an archive of the practice-based Writerly Readers workshop undertaken by postgraduate students within the School of Design.

Since 2011, the visual case study for this word and image workshop has been the immediate area around LCC: the Elephant and Castle.

The workshop asks participants to consider how we create and receive visual messages and argues for a model of design through which we can question the provenance of visual texts and the role of graphic design within the wider framework of visual communication.

As graphic design becomes increasingly synonymous with a contemporary visual discourse dominated by commercial advertising culture, a case emerges to develop a more collaborative process that could question the role of graphic design within the visual spectacle.

In considering relationships between authoring and receiving visual messages, the project argues for a model of design that invites the viewer to become more writerly readers of visual meaning.

group at wall

Photography © Vladimir Molico

Read about MA Graphic Design

Read Vanessa Price’s staff profile

Read more about Research at LCC

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Creative Enterprise Awards shortlists announced!

Creative Enterprise Awards_1306x653 (1)

 

University of the Arts London will be celebrating the enterprising successes of our students and recent graduates at the fifth Creative Enterprise Awards.

42 students and graduates from across University of the Arts London colleges have been shortlisted from hundreds of applications.

Winners will be announced at the Creative Enterprise Awards Night on 19 November.

The seven award categories are:

  • Freelancer
  • New Business
  • Enterprising Project
  • Digital
  • Ethical or Social Enterprise  
  • International
  • Enterprising Individual

We’ll also be announcing four Creative Enterprise College Awards.

Check out this year’s shortlist.

The awards take place as part of Creative Enterprise Week and are sponsored by NatWest.

Drama Centre London Alumna Scoops BBC Playwriting Prize

Ana © Hannah Robins/BBC

Ana © Hannah Robins/BBC

Ana González Bello, who graduated from our BA Acting course in 2012, has won the BBC’s Georgi Markov Prize 2013 for her play Diablo and Romina.

Awarded as part of the BBC’s International Radio Playwriting Competition, the Georgi Markov Prize is given to the writer whose script shows most promise. As the prizewinner Ana receives a two-week return trip to London, enabling her to spend time with the BBC’s Radio Drama and World Service departments.

The BBC judges praised Ana’s play, saying: “A charming piece, written with great authenticity and a simplicity that was refreshing. The world was well captured and atmospheric, and the threat of violence really well achieved.”

‘Mind-blowing’

Diablo and Romina tells the story of Roxanne Romina. Roxanne lives with her mother in a small town in the south east of Mexico where nothing ever happens, until her cousin Frank returns from America and changes everything.

Inspired by an assignment a journalist friend of hers had taken, Ana took migration as the theme for her play. “I wanted to tell a story from the point of view of those who stay behind,” she explained. “The women in a family where the men move away and have been swallowed and spat out by the American dream.”

Speaking about her win, Ana said: “Writing a play that the BBC, a worldwide referent of quality, thinks shows great potential is mind-blowing. Winning this competition has given me the fuel I needed to want to keep on writing and to get better at it.”

More information:
Drama Centre London
BA Acting
MA Dramatic Writing
The BBC’s full interview with Ana

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