Archive for the ‘News’ category

Two Halves // Viv Albertine and William Raban

Two Halves Viv William

Two Halves is a regular feature spotlighting two people connected by London College of Communication.

Our aim is to showcase the conceptual intentions, deeper thinking and personal insights that come with the creative process.

If you would like to nominate someone for Two Halves, please email Natalie Reiss (


“Apparently mature students always try and over-achieve, we know this may be our last chance.”

  • Last year I slept a lot, rehearsed my band and played lots of gigs.  The year before that I finished my book and was the lead in a feature film. Every year is different for me and amongst all that I bring up my daughter, which is very improvisational and creative.
  • I write prose every day, not sure what it’s going to turn into. I make notes for songs, I’ve done some drawings but mostly I travel Britain and Europe promoting my book with readings at literary festivals. I want to communicate to as many people as possible, it took three years to write and I am proud of it.
  • I went to LCC 1984-87 and I did BA (Hons) Film. It took me a few years to get a portfolio together after being the guitarist in the Slits. I was a mature student and working, teaching aerobics at the same time. As I’d been in the music industry for seven years, I found the essay writing part of the course very difficult at first, but by the second year I was ok and became a bit of a swot.  Apparently mature students always try and over-achieve, we know this may be our last chance. I was grateful to be there.
  • I am a great believer in exposing myself to other disciplines, different to the one I’m working in, it’s much more inspiring and your work is less derivative.
  • I found collaboration in film very difficult because it watered down the idea.  It was very difficult to keep it strong and stay close to your vision, each department diffused the initial idea, misinterpreted it or there wasn’t the money.
  • If you make work that is honest and faithful to yourself, it will never date. It is scary and painful to do and it may not be recognised as good work for many years but you have to choose if you want to be an artist or an entertainer.
  • I was embarrassingly honest and I had a nervous breakdown after I handed (my memoir) to the publisher.  I had no hopes for it at all. I thought I would be a pariah once people read it. That’s how you should always feel when you make work in my opinion. Like you’ve gone too far.
  • I’ve only done four things, three albums and a book (I could count the way I used to dress in the seventies as it was groundbreaking, political and creative) and they have all transcended who I am.
  • I’m a great believer in the ‘fallow field’, lying dormant until an idea becomes so compelling that you can’t keep it in anymore.  That’s my way of working.  I’d rather do a couple of good things in my life than churn out a load of mediocre work. I’m not a careerist.
  • We had no TV, no books, no social life and no telephone when I was growing up – all I could do was draw.  I was often bored so both drawing and fantasising were my escape and they stood me in good stead.  I never run out of ideas, but sometimes, I concentrate on other things like love.

Viv Albertine’s memoir is Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys.



“Dream space is crucially important to any creative process.”

  • I am William Raban, Professor of Film at LCC and most of my time is committed to research both in terms of making films, supervising research students and doing all I can to develop an active college-based research community.
  • I have just finished a 60-minute film (72-82) on the first ten years of Acme Studios that includes pioneering installation and performance works shown at the Acme Gallery (1976–1981).
  • Acme Studios commissioned the film and they approached me because I had been a part of their history in the 1970s and I had documented on film some of the installations and performances shown in the Acme Gallery.
  • When I made Thames Film (1986) I began by being inspired by TS Eliot’s Four Quartets and his view of the river as a ‘strong brown god’.  Later, I discovered the Brueghel painting Triumph of Death in the Prado, which became the means for holding the film together.  It came to me in a dream where I saw the painting to the slowed down sound of Bach’s Matthew’s Passion, which is featured on the soundtrack. And of course, 72-82 is largely informed by artists who worked in painting, sculpture, installation and performance art.
  • The way I started making films in the early 70s invariably was a solitary process but I now depend upon help with specialist areas such as editing and sound.  I have collaborated with David Cunningham for the last 18 years on my soundtracks and he is brilliant to work with.  He is often quite critical of my ideas and I like that degree of resistance in the collaborative process.
  • The films about London and the River Thames have all been inspired either by being out on the river in a small boat or by walking the streets of London and just observing what goes on.  I find life on the streets so fascinating that I am not really interested in the artifice of a film studio.
  • LCC constantly surprises me. I have been here since 1996 but today I discovered the Heidelberg press in the printing department.  Whilst I have a pretty good idea about what goes on in the School of Media, I look forward to discovering more treasures in the Design School.
  • [On his first piece of art] I would say it was a large oil painting that I made when I was 17 – a view of the River Test in Southampton looking towards the distant Fawley oil refinery.  I got the paint to do what I wanted at the time but as I became older, I rejected its mimetic representation of a landscape and I am pleased to say it no longer exists – the paint having gradually fallen off through having been placed over the rising heat from my parents’ fireplace.
  • Island Race (1996), which was incredibly hard to finish because of its focus on the rise of the BNP.  I nearly gave up and am glad I didn’t because I think it remains a valuable document of that febrile time in east London.
  • Dream space is crucially important to any creative process. I have several ideas about what to make next but I am in a space where I need to dream the next idea.

William Raban is Professor of Film at London College of Communication.

The post Two Halves // Viv Albertine and William Raban appeared first on London College of Communication Blog.

Meet Helen Wilson

Helen Wilson studied Sculpture (BA Hons) at Camberwell College of Arts. She is one of ten UAL alumni to be selected for the 2015 Catlin Guide. Here she tells us about her time at Camberwell, how she got involved in the Catlin Guide, and what she has planned for the future.

Helen Wilson

Helen Wilson

Why did you choose to study sculpture at Camberwell College of Arts?
After being advised that if I wanted to study fashion I would need to start making clothes that were wearable, I realised that a sculpture course may offer me more freedom. While at Camberwell I enjoyed having the framework of ‘sculpture’ rather than ‘fine art’ as it gave me a boundary to push against and really question where what I was making really sat within the art world.


How would you describe your time studying there?
A long, hard although mightily enjoyable three years of thinking, playing and trying to understand what art is and why we do it!


What are your best memories?
Gallery Wednesdays with our tutor Rob who would march the class around the streets of London; popping into galleries and inspecting the subtleties of the artwork. Also, our seminars in first year with Paul O’Kane were a real eye and mind opener.


What were the greatest difficulties you faced during the course? And what did you learn from them?
Having to question everything… And from that I learnt not to question everything.

Art Lug

Art Lug


How did you come to be shortlisted for the Catlin guide? And tell us about the work that has been shortlisted?
The Catlin Guide showcases 40 recent BA, MA and MFA graduates from around the UK and are chosen based on degree show work. My work exhibited at Camberwell was called ‘Carol’ and consists of a video of myself projected onto a wooden cut-out in the format of a Tensator Virtual Assistant seen (and usually ignored) at airports and train stations. I mime over recorded audio of Carol, a gallery warden, as she rants about the art world and how she is saddened by the system she’s found herself in. You can see snippets of this piece here.


What are your plans for the future (Immediate and long distance)?
My current work is based around the idea of the portable studio- lugging my art, tools and materials with me, allowing me to create as I draw inspiration from my surroundings. You can see upcoming dates on my website. With time I hope to widen the circle of portable studio goers, re-creating the best bits of art school- the discussions, crits and the urgency to make.

I am also experimenting with how to enjoy the task of making a living, developing some performances based around the idea of waiting, starting with becoming a street statue performer.


What/who are your biggest inspirations?
At the moment, tour guides.


Find out more about Sculpture (BA Hons) at the Camberwell College of Arts


Read more about the other UAL alumni selected for the 2015 Catlin Guide

UAL in the USA

Boris Johnson

Researchers at Google have revealed that UAL is one of the most popular overseas universities for US students. Google’s research shows UAL is the ninth most searched for university among US students looking to study overseas. Google’s education team analysed US internet searches during 2014, and found that six of the ten most searched for subjects by US students looking to study overseas are arts/creative subjects. The research also found that fashion is the second most searched for course, with London College of Fashion among the most highly searched specialist institutions. London tops Google’s poll of the most searched for city by US students looking to study abroad.

Mayor of London Boris Johnson announced the research findings during his trade mission to the US, aimed at strengthening economic and cultural ties between London and the US. In his speech Boris singled out UAL for special praise, referencing UAL’s move to Stratford and our key role as one of the leading cultural and educational providers in the capital.

Museum of the City of New York

A delegation from UAL is currently visiting the States for a series of education events, including the inauguration of the New York UAL alumni group. American students make up the fourth largest international group studying at the University.

Read about the launch of UAL’s East Coast alumni group

Discover more about UAL’s American alumni groups

Read more about the Google research in the London Evening Standard

New MyArts: launch this week

MyArts launch

The current MyArts pages are being replaced by a new easy-to-navigate intranet. From Thursday 19 February, the MyArts login screen will load when you open any web browser on a UAL computer or visit from other devices or locations.

If you visit MyArts before Thursday, you can still follow the link to try the MyArts beta site and tell us what you think.

A single point of access to information you need

The new MyArts is a single point of access to systems and sites that you use every day such as Moodle, your timetable and the library catalogue.

A student view of UAL

It will also be a gateway to all your student-focused information, displaying news and events and allowing you to access information from your own college and across the university.

Your feedback matters

Get in touch via the feedback form on MyArts or email the Internal Communication team via to tell us what you think or if you have questions.

New MyArts: launch this week

MyArts launch

The current MyArts pages are being replaced by a new easy-to-navigate intranet. From Thursday 19 February, the MyArts login screen will load when you open any web browser on a UAL computer or visit from other devices or locations. If you visit MyArts before Thursday, you can still follow the link to try the MyArts beta site and tell us what you think.

A more personalised view of life at UAL
The new MyArts provides a gateway to all the UAL and college information you need and you’ll have a different view according to whether you’re staff or student and whether you’re part of a college or work in UAL Services.

Staff in student-facing roles can find out more about the student view on the MyArts for Students page. The new platform will also make it easier to find information from other colleges and a single point of entry to systems and sites such as Employee Self Service (iTrent) or the Agresso finance system.

A secure digital space
Everyone (staff and students) will need to log in to access the new MyArts. This means you can still access MyArts securely from outside the university network, from home or while on the go. It also creates a secure space for sharing information with our internal community.

Your feedback matters
Get in touch via the feedback form on MyArts or email the Internal Communication team via to tell us what you think or if you have questions. Visit the MyArts intranet section to find out more about governance, change requests and support for editors.


Love Act(UAL)ly

To celebrate Valentine’s Day this year we are looking back at some of our very own alumni love stories.  From the swinging- sixties to the naughty-noughties, love has never stopped blossoming in the corridors and the studios of the University of Arts London. 

Vasundhara & Ronan 

The first couple in our feature are the lovely Vasundhara Shankari Sellamuthu (Foundation Diploma in Art & Design, Chelsea) and Ronan Haughton (Photography, LCC, BA Hons). They met through a mutual friend at the student bar… 

Ronan and Vasundhara

Ronan and Vasundhara

Ronan and I met at the University of the Arts London Student Hub on Davies Street in late 2008. I was with two friends from Manna Ash Halls of Residence. We decided to go to the Student Union bar as a friend who was leaving for Italy after finishing her course at UAL. Mid nachos, she received a call from her friend who she was going to meet after.  He appeared and joined us at our table. The only thing I noticed was that his right hand was in a cast. He seemed pleasant and friendly, and softly spoken. Getting up to leave I picked up the numerous bags of stuff that my new life as an architecture student had bestowed upon me. I did not realise he found me attractive. As we were leaving the Hub, I invited my friend over for a goodbye meal. Seeing Ronan stood there, I invited him too.

The meal didn’t end up happening, but Ronan messaged me a day after saying he had walked around my block that night waiting for a call, but my call never came. I immediately felt guilty, then realised the irony. It was my first taste of his humour, something I’m still getting used to! He confessed he liked me. We met a couple of times, at a friend’s party, his friend’s dinner, tea at Candid café Angel, a walk in Victoria Park. I brought him coffee from India as a present and invited myself over to his place for a home-cooked Thai meal. I brought yellow flowers and dessert, a move that surprised me but excited me as well – challenging gender stereotypes and norms. We learnt about our different cultural backgrounds; it was exciting ground for a relationship. We dated through my student days in London, overcame tough times such as the recession, academic challenges and homesickness. Our love grew stronger and proved to be the best support. After I graduated in 2013, Ronan and I went on holiday to Paris with tickets he had won from a photography competition in which he shot the installation ‘Across the buildings’ at the new Central Saint Martins campus in Kings Cross.

In Paris he proposed to me. It was a complete shock where everything melted into a puddle of overwhelming surprise. It shifted the relationship from the present moment to the future. I thought about it overnight and the next day I proposed to him. I love wearing the Claddagh ring he got me, it makes me proud of my Irish connection. We continue discovering something new about each other all the time and look forward to a creative life, a desire that led us to UAL in the first place, and ultimately, to each other.

Last year Ronan and I made the big move to India and we live in Bangalore now. I work at GALLERYSKE, an art gallery which represents and exhibits some of India’s best contemporary artists and Ronan is pursuing his photography and other creative projects.


The Thornhills

Jane Thornhill studied Fine Art at St. Martin’s School of Art, graduating in 1964.  She tells us how attending the Saint Martin’s Christmas Ball one year brought her more than just festive cheer… 


The Thornhills

Whilst studying for a degree in Fine Art at St Martins, I made friends with two fellow students from New Zealand who were on the same course as me. When the time came for our Christmas Ball, we formed an exotic group to include a girl from South Africa, a couple of Aussies and me, originally from India.  The girls from New Zealand had boyfriends who were army cadets, and they brought a bunch of guys to the Fancy Dress Ball to partner us. I remember the pantomime that was performed by all our lecturers was called ‘Flake White and the 7 Dwarves’ and the starring role was taken by our principal, Frederick Gore.

Being young and self-conscious about wearing specs, I could only make out fuzzy images when we met the group in a tiny bedsit on the King’s Road before the ball. But I could see two fair haired young men, one of whom was smiling at me all the time. They were best friends.  I married the smiler and the other one was our best man!

This year we will be celebrating our Golden Wedding Anniversary.

I still have fond memories of my time spent at St Martins, as it is only because of being there that I met the love of my life.


Tim & Sarah

Tim Bulmer moved to London to study Theatre Design at Wimbledon College of Arts, and ended up meeting his very own leading lady…

Tim & Sarah

Tim & Sarah

My name is Tim Bulmer and I enrolled at Wimbledon School of Art in September 1978 having completed the Foundation Course at Teesside College of Art. I had rarely ventured “south of the border” (Doncaster) in my life so this was quite a departure. I had been provided a room by Zola Cameron, a secretary at the school (never ‘college’!) in Streatham and I started the course, Theatre Design, with enthusiasm.

I had lead a pretty sheltered life up to that point – solidly middle class – privately educated and yet hopelessly naive and awkward, especially where the opposite sex were concerned. I had never been a great success in that department and treated girls as if they were ‘honorary’ boys. I actually preferred their company especially after the limitations of an all-boys boarding school.

However there was one girl whose laugh I first heard on the corridor at the top of the main stone staircase in the School – she was on the Theatre Wardrobe course and I instantly recognised the fact that she was way out of my league and anyway I overheard her mentioning an Italian boyfriend… She was pretty, tall and full to the brim with wit, personality and talent. I didn’t even bother showing an interest as it was inevitably a lost cause and I didn’t want to end up making a fool of myself

As with all biography the interesting bit is always the struggle prior to goals achieved, and space is limited but mysteriously Sarah (for that was, and still is her name) was bizarrely attracted to me, and starting tentatively enough we eventually got together and moved into a flat just off the Wimbledon Broadway. Sarah covered the rent by working in the wardrobe department at Polka Children’s Theatre, and once I had my degree I was free to shift scenery backstage at The Wimbledon Theatre.

The Bulmers

The Bulmers

We married in 1982 and have been together for thirty four wonderful (though for various reasons often ‘interesting’) years. Sarah was a successful dress designer and maker, and I eventually started my own freelance art business. We now both work together and are a great team. We have a son, Freddy (24), who works for The Wine Society and is currently being put through The Wine Diploma by the Society and a daughter, Josie (20) who is on a year’s placement at the fashion department at Marks and Spencer whilst studying for a degree in Fashion and Knitwear at Nottingham Trent.

After 17 years in the north in and around York we have just swapped our large well-appointed five bedroom town house for a tiny two up two down tumble down cottage in West Sussex. There is a huge amount to do but we are every bit as excited as when we moved into our first house in 1985.


Olaf & Su 

They became friends at Camberwell School of Arts and Crafts in the 1980’s, but that friendship led to more, including an international fashion collaboration…

Sue and Olaf

Sue and Olaf

Her name was Su Denney (now Parker) we were friends throughout the three years of the degree and got together towards the end of the 3rd year. Our first date was seeing Gil Scott Heron at Goldsmiths student union!

We started out designing textiles together, selling mostly to Parisian fashion houses and producers, the likes of Guy Laroche, Chanel, Scherrer, Boussac, Christian LaCroix, Lagerfeld etc… Later we started streetwear label Boxfresh and menswear brand Burro. We moved on from Boxfresh but continued with Burro, showing our collections on the catwalk in Paris and opening stores in London and Tokyo. We still own and run the Burro brand but mostly we consult and design for other brands.

We live in Otford in Kent and have two children, Eric 15, and Margot 20.

Eileen & Annirut

The final love story we have needs help with its happy ending.  Eileen Waterman met Annirut at the London College of Fashion, they fell in love, but lost contact over time. Can you help reunite them?

I was a student of the London College of Fashion in 1967/68, and I fell in love with a Thai boy named Annirut.  We got engaged, but unfortunately (the 60′s being what they were) I was unfaithful and he broke off the engagement.  The last I heard from him was a letter from Switzerland.

For years now I have been trying to trace him, but to no avail. The fact that I can’t recall his last name does not help. I have recently made an appeal to the daily mail to help with my search.  I hope one day we find each other, but as the years roll by it seems unlikely…



Here is a picture of Annirut holding a cake box he had given me on Valentine’s Day.  If you recognise Annirut, or have any information that might help Eileen with her search, please get in touch.


Legolab: Using Lego Serious Play at UAL

Lego Serious Play is a creative and three dimensional thinking process which lends itself to exploring complex topics. We are using LSP for learning, teaching, practice and research and want to share our experiences more widely.

Legolab is co-hosted by Alison James, LCF and Fred Meller, CSM and is intended to allow more people to find out how LSP may be useful in their roles and foster collaborative activities and connections.

We would like to invite anyone interested in learning about the potential of LSP to join us at the inaugural meeting of our community on either:

18 February 2015
13.30-16.30, LCC T805
18 March 2015
13.30-16.30, Chelsea E201

This will include stories of our LSP use, demonstrations, discussion and thoughts for ways forward.

To book, contact: Dr Alison James (, Associate Dean Learning & Teaching

New Course Discourse // MA Television

David Hoyle image

Course Leader David Hoyle

As our New Course Discourse series continues, we ask LCC Course Leader David Hoyle to tell us about the brand new MA Television.

Can you tell us a bit about what this course will focus on?

A huge area of television programming is broadly called factual programming. It covers everything from serious journalistic current affairs programming right through to what the BBC calls factual entertainment.

MA Television students will come and learn how those programmes are made. We’re looking for people who have ideas for those sorts of programmes, or who want to work in that vast programming area. It’s strictly television, strictly factual, but there could be drama – for example re-enactments in history programmes. It’s a very broad brush.

How is the course constructed?

Everything in the course revolves around programme-making; students will make four programmes of increasing length and complexity. But wrapped around the programme-making are a series of approaches that look at the business of programme-making from different points of view.

We look at them as business assets, so students will learn how to raise money, how to manage budgets, and how to exploit the assets that they’ve made. So there’s a sort of business/commercial/management aspect to programme-making.

Then we look at the history, the philosophy of factual programme-making, largely in the UK but not only here, and we will invite lots of models from different countries if we have students from other programme-making nations.

So we’ll look at them from the economic point of view, from a philosophical point of view, and also slightly from the political point of view. We do ask students to think about what sort of messages these programmes send, and just go some way into what’s called “cultivation theory” – a way of looking at programmes from their effect on maintaining or presenting the status quo of society.

So students will end up being confident programme-makers, but also with a very advanced understanding of the whole context in which they’re working.

The other thing I’d add is that it will be fun! People will have a year of intensive hands-on programme-making in teams, closely supervised and guided all the time, of course, but it should really be a joyful experience; a whole year of doing nothing but making programmes in the heart of the European programme-making industry.


LCC film and television students and guests attend their final showcase screening at BFI Southbank

How does this postgraduate programme differ from undergraduate study in television?

It differs from undergraduate programmes in two ways, I suppose. In that people are expected to contextualise the programmes that they make, and certainly think of them as commercial objects, but also in the fact that we will be making programmes of a higher quality. By the end of the second term, we will have people making programmes of full broadcast standard.

All of this leads at the end to a major project in which people make programmes but support them with a business plan, so that they can prove to a broadcaster how they would generate income, or if they made them independently how they would set up and sustain an independent production company – which is one very major objective of the course.

Why should applicants choose to study here at LCC?

The core of the School of Media – from my point of view anyway! – is the television studio. It’s a completely state-of-the-art, professional standard TV studio, and all the programmes that students make on the MA will have a TV studio element.

So there are the facilities that we have here, but there’s also LCC’s unique and very special location. We are 10 or 15 minutes away from the heart of European television programme-making, and I always remind students that more film is shot in London in a day than in the whole of Hollywood in a year.

We’re looking continually for liaisons with commercial production companies, and one option the students on the MA will have is actually to make their programmes to a live brief. So that means that they’ll be encouraged very strongly to seek out commissioning editors or production companies that are looking for work to be made. They’ll be able to make that here, and be assessed for it. Obviously that’s a very potent gateway into the world of work.

What’s also important is the sum total of the School of Media. One of the units in the course is a formally collaborative unit, and we already have arrangements in place to work with the MA Arts and Lifestyle Journalism students. They have to produce a moving image piece, so there’s a very obvious and fruitful symbiosis between those two courses.

But in the College as a whole we also have photographers, animators, illustrators, designers – all sorts of people with skills that fit perfectly with programme-making. And then, of course, we have the University – we have set designers at Wimbledon, costume makers at LCF and so on. People on this course would be strongly encouraged and helped to form collaborative relationships formally and informally with people in the School of Media and across the University as a whole.

students filming

LCC students at work

What is the course is looking for in its students?

Applicants for the course can be people with a good honours degree in film and television production or a related subject – that’s the obvious one. We would also be interested in people with good honours degrees in other subjects, for example economics, journalism, law, business. Almost anything, really, if it’s accompanied by a demonstrable, informed interest in television.

We’d also be very interested in talking to people who may not have a degree but have worked in the film and television or related industries for a little while – maybe four or five years – and, again, in the interview can demonstrate an informed interest in television.

And fourthly, we would still be very interested in talking to people who don’t have that television experience and might not necessarily have a degree in any subject at all, but again can show a burning, passionate, informed interest in television, and who we think will be able to contribute to the life of the course.

The first term and a half of the course are very much about getting people up to speed in programme-making, and it’s quite intensive in that respect. So by halfway through the course, we will have a cohort of highly competent programme-makers. After that point, other skills and experience and knowledge that they can bring to bear will become increasingly valuable, really, so a lawyer or a journalist or a scientist at that stage would be incredibly useful.

What sorts of careers can graduates from MA Television move into?

If you open your TV guide and look at any day of the week – more the week than the weekend but even there – you’ll find programmes on history, science, travel, holidays, home decoration, cookery – a whole range of informative programmes that are also entertaining. They are the staple, really, of most broadcasters’ output in most if not all countries in the world – they fill the schedules.

People graduating from this course can set up their own small production companies to propose and hopefully make this sort of programme, or they can go and work for those companies – there are lots of them – who specialise in this broad area of factual programming.

But it also gives access to web-delivered materials, to non-broadcast materials, to even corporate production. Any sort of programming, really, that has got some informative purpose.

Visit the MA Television course page

Read David Hoyle’s staff profile

The post New Course Discourse // MA Television appeared first on London College of Communication Blog.

Green Week: Fixing Fashion – Repair is the New Black

Bridget Harvey, Jumper: Fixing Fashion - Repair is the New Black.

Bridget Harvey, Jumper: Fixing Fashion – Repair is the New Black.


For UAL Green Week 2015, Bridget Harvey, CCW PhD student in the Textile Futures Research Centre (TFRC), invites you to experiment with mending your clothes and other textiles: customising them and fixing damage through patching, darning and adding new buttons.

In the UK we send over £200m of clothes to landfill each year. Mending can help keep these textiles in circulation, and help us love our clothes for longer. Learn hands-on skills for clothes mending – darning, patching and other small and simple mends. All the techniques can be done by hand, no previous skills or experience necessary.

Along with plenty of enthusiasm, all you need to bring with you are scrap fabrics or clothes with holes, stains, missing buttons etc!

Fixing Fashion | Repair is the New Black is part of Green Week 2015.

Friday 13 February
11:00 – 16:00
1st Floor – D1 Corridor
Central Saint Martins

Further information & contact:   Bridget Harvey website

Vacancies in Halls of Residence for all students

We currently have vacancies at Glassyard Building London Student Accommodation and The Costume Store!

If you’re currently a UAL student or studying a UAL short course then get in touch with the accommodation team at  or calling  (0)20 7514 6240. The minimum stay is three weeks.

Costume Store