Joined in 2023 
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In the second year of study there’s the opportunity to complete a term placement in industry, offering highly valuable real-life industry experience, with established and emerging companies – local and international. The Textiles and Creative Industries Experience unit will increase your awareness of the industry, and opportunities with the creative industries. Industry experiences are strengthened further by working in a cross-discipline fashion and textile design team to develop an industry-led collection, alongside exploring your own designer identity project; the Designer Identity unit will challenge you to consider your place, role and identity within the fashion textiles industry including the development of inclusive, forward-thinking, creative design propositions. Delivery of the unit will include tutor and peer group discussion and critiques, supported with lectures, demonstrations, and workshops I am self-taught in digital embroidery, having imported a Janome Memory Craft machine when I lived in Latvia (2008-2010). Always having a passion for art & design, I wanted to taking my graphic interest into a more tactical direction, and digital embroidery seemed perfect. I lived in Eastern Latvia where half the year is under snow, so to pass the time and keep being creative I experimented with the machine on scraps of fabrics and old garments before being asked to make pieces for friends.
BA (Hons) Fashion Textiles: Embroidery runs for 90 weeks in full time mode. It is divided into 3 stages over 3 academic years. Each stage lasts 30 weeks. Climate, Social and Racial Justice Statement The embroidery originally began as just a digital construction. I created many different shapes, embroidered them out on the multihead machine and then working on a mannequin pinned, placed and changed them around until I liked the composition that it had of working up the body and around the shoulder. Then I sewed them all together.You can also find out more about the Postgraduate Masters Loan (Home students only) and other types of funding How to pay We’re sending a collection of art into space with the hope that aliens will someday discover it. You’re asked to contribute a piece of embroidery. What do you make and why? I would look at creating a large embroidery of animals doing human activities. I think it would be fun and certainly confusing if nothing else. 😀 Imagine their surprise when they finally reach earth. Guest speakers from LCF’s research team and associated communities of practice and from industry will support the course including alumni from the BA (Hons) Fashion Textiles course at LCF, many of whom have established their own successful businesses or are placed within key textile companies. Implementing a few design choices can make a big difference to someone trying to see and feel a part of a piece. When touch isn’t allowed then the next best thing is introducing clear outlines for the eye to follow.
The course benefits from a strong collaborative focus with opportunities with related industries and cross discipline design courses within the School of Design and Technology. Live or simulated briefs will form an integral part of this master’s course enhancing students’ professional skills and employability potential. Students are also encouraged to engage in extra-curricular national and international competitions and opportunities. A holistic, analytical approach: On this course, you’ll be encouraged to imagine the future of your craft and your role as designers by exploring its past and present. In addition to rigorous research andanalysis into technical areas, you’ll consider the cultural, social, and environmental impact of fashion textiles at a global level. Throughout the course you will build and extend your core research capabilities through written and oral/visual presentations in each unit.The study support programme at LCF is designed to meet the needs of all students from all levels and disciplines. Sarah Cheyne is a design lecturer for the BA (Hons) Fashion Textiles course and an MA graduate from the RCA. With over 20 years experience in the creative industries including running her Dalston-based design studio. Sarah has created textile designs for clients in Europe, USA and Japan, selling to an international clientele including Christian Dior, Guy Laroche, Aquascutum, Calvin Klein & Macy’s. As an alumni of Texprint (TexSelect) Sarah has worked with the organisation for over 20 years, helping launch the careers of talented textile graduates. As projects coordinator she has arranged paid internships with companies such as Paul Smith and Liberty, accompanied prizewinners to Shanghai to exhibit their work at Intertextiles, and is frequently invited as a member of the judging panel for the prestigious TexSelect awards.We also usually advise our customers to keep their embroidered designs small. This is especially important when applying it to polos or T-shirts.
The following teaching and learning methods are employed to support the integrated achievement of the course outcomes using a blended learning mode of delivery: Michela Carraro is the specialist fashion design tutor for the Fashion Textile courses. She has worked for numerous luxury brands including Alexander McQueen, Biba and Danielle Scutt and has created independent capsule collections that have been showcased in Milan and London. She has collaborated with many photographers and artists including stylist Sarah Richardson on a variety of projects, advertisements and editorial fashion stories for: ID, Russian Vogue, Elle US. Her teaching focuses on design underpinned by the relationship between textile development and the principles of 3D design interpretation.
Entry requirements
Simulating industry practice, in the Introduction to Industries Practice unit you’ll have the opportunity to work as part of a collaborative textiles and fashion design team to co-create a ‘capsule collection’, alongside building an individual textiles range for an industry audience. This unit will provide a further opportunity to explore important design themes, individually as well as in an interdisciplinary textile and design collective; exploring how materials can inspire inventive, ethical and topical design proposals Furthermore, imposter syndrome is hugely common and for me personally is hard to ignore. Ways I have helped myself is to really put an effort into making myself aware of the field I am going into.
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