Appendix 8: Annual Programme Evaluation 2014-15 BA (Hons) Fashion
Institution
Programme
Leeds College of Art
BA (Hons) Fashion
ACTION TAKEN
1.1 Progress made in response to feedback from the University in relation to annual monitoring in 2013-14.
Comments on Critical Analysis (including evaluation of learning resources)
• The External Examiner (Bashir Aswat) confirms that students are appropriately assessed for the award/subject
matter and that students’ performance is comparable with that at other UK HEIs. There are no serious concerns
to be addressed but the EE recommends that the programme team continues to develop ways in which to
improve student knowledge and exploration of fabric for fashion.
Response: 14/15 module briefs have been updated to incorporate speakers from industry, industry visits and
workshops that focus on fabric compositions and behaviours: Visiting Speakers: Irene Spink (2 day pattern-cutting workshop – D&R)
 Paddy Hartley – confirmed for 24th February (all Fashion students);
 New industry collaborations: Ben Brown (Worsteds), Leeds – sponsored fabrics for L5 Design & Realisation module
(menswear tailoring) – selected to student’s tailored coat to exhibit, along with her portfolio, at
Idealla Biella, Milano Unica, in September 2015;

CoP3 has been revised to ensure that students have an in-depth ‘lead-in’ to the research and
development of their graduate collections, in preparation for the realisation through Extended
Practice. Interim critiques on D&R pathway have been beneficial to students’ approach to a
deeper level of investigation, awareness, understanding of contemporary fashion design, for
example, range-building, colour balance, fabric selection and behaviour, silhouette, detailing and
technical considerations.
Comments on Reflection, including Student feedback, feedback from teaching staff and employer feedback and
PDP
• Overall satisfaction has declined slightly since 2012/13 and most NSS scores are slightly (and significantly so in
the case of organisation and management – as in the previous year) below sector averages. Action is being
taken to address the areas that give most cause for concern.
Response: Unified staff team now in place from start of academic year – less disruption to students;
 Increased studio space with new facilities from Sept. 2014 has enhanced the learning experience
and has been positively received by students. The space also facilitates assessment, particularly
in light of the ‘bulky’ nature of the work produced/submitted by fashion students. New studio is
available for final year students only, giving them guaranteed workspace during private study,
also aspirational to L4 & L5;
 Scheduled pastoral tutorials now offer students additional, structured and timely support;
 Improved communication to students, particularly around graduate show scheduling and
logistics;
 Increased interim critiques on D&R pathway, along with implementation of self-assessment, has
been of significant benefit to students’ project-management, progress (as a result of detailed
feedback at each point) and awareness of assessment process.
1.2 An account of the implementation of the 2013-14 enhancement action plan.
Action No.:A – complete / success criteria met;
B - considerations over whether to show at GFW, or through an independent PR company were raised
as a priority throughout 14/15, as a result of the decision made by GFW to ‘demote’ LCA Fashion to
their new ‘Collective’ area. GFW has taken a new direction, making the process of exhibiting
1
selective to all institutions; the selection process being based on a student work portfolio submission.
The rationale for this decision was due to the GFW committee’s opinion that the submitted student
work portfolio was below par at that time. The decision was made by the Programme Leader and
Principal Lecturer, at that time, to take up the offer of the Collective stand, and use the time at GFW
to undertake in-depth market intelligence and speak with GFW regarding the criteria attached to
acquiring a stand-alone space. Following GFW 2015, the committee has confirmed the reinstatement
of a full static exhibition space for LCA Fashion, for June 2016. This decision, along with several
team meetings throughout 14/15 has resulted in the decision now being made to exhibit at GFW, and
to now pursue a slot on the ‘boutique’ runway, within the next 2-3 years, rather than working with an
independent PR company at this time; the rationale being that GFW is a high profile platform for
fashion graduates, and is the expectation, from incoming undergraduate students, that the institution
has a presence there. The event also serves as useful market intelligence gathering and professional
networking for the staff team (see EAP – action A)
C – complete / success criteria met (evidenced through a wider range of fabrics and contemporary
fashion awareness through graduate collections) – NB materials awareness and utilisation is an area
of focus that will continue to evolve and improve through teaching and learning mechanisms
D – complete / success criteria met, and will be further embedded throughout 15/16, driven by new
Programme Leader and the Principal Lecturer for Fashion Communication pathway
E – complete; it has been decided not to change the L5 work experience scheduling/timeframe, due to
the impact this would have on timetabling (i.e. allocated hours to other modules)
F – complete; an effective student attendance strategy was implemented for the majority of the academic
year. However, Admin and Programme Leader staff changes at a very busy time of year (April),
resulted in this process taking somewhat of a back seat, resulting in some poor attendance not being
followed up through meetings with a small number of students, toward the time leading up to
completion and submission of Semester 2 work. Although the majority of failed modules and students
withdrawing from the programme was inevitable (i.e. external issues), regardless of the level of
pastoral support, it is recognised that the programme has a notable ratio of students who fail modules
and/or withdraw/suspend from their study, and, as such, is an area that will continue to be addressed
by the team throughout 15/16 (see EAP – action B)
G – complete; the appointment of a Principal Lecturer for the Communication pathway in June 2015 will
drive the pathway and further define its USP. Curriculum has been planned to ensure a robust skillset
is embedded into the teaching and learning strategies, in relation to a Communication specialism. A
full academic cycle needs to be complete before success criteria can be measured; therefore, this
action will be carried forward to 15/16 (see EAP – action C)
H – complete; visit to AMFI by then Principal Lecturer took place October 2014; beneficial for information
gathering around curriculum (content and framework), although this institute were in the process of
rationalising their Erasmus partner portfolio and were not looking to take on any new partners at that
time. The College’s International Officer visited IED in June 2015 with the intention to discuss
Erasmus partnership and gauge potential for further links through, for example, linked student
projects. More direct communication to our students by the International department has resulted in a
greater awareness of the Erasmus programme and a student applying for an exchange with ENSAD,
Paris. The programme has also received more international student applications; offer acceptance
statistics currently identify an increase from international students to that of 14/15
I - ongoing; throughout 14/15, several changes were put in place to address NSS scores; however,
possibly as a result of disparity of how these initiatives and strategies were delivered between one
pathway and the other, this has resulted in a notable level of student dissatisfaction throughout the
year, predominantly from the Communication pathway. The changes around Programme Leadership
may also have unsettled the students; the timeline of Programme Leadership changes is noted in
section 12. NSS results are a priority for improvement over the course of 15/16, as a result of the
14/15 scores and feedback; therefore, this action will be carried forward (see EAP – action D)
J – complete / success criteria met. NB the number of appeals regarding grades has not improved from
last year; however, the appeals have arisen from issues outside of students’ understanding of
assessment and feedback mechanisms per se (please refer to section 5.4 re. appeals)
K – complete / success criteria met re. module feedback around UCAS interview period
L - complete; success criteria partially met (i.e. on the Design pathway) but requires more robust
implementation on the Communications pathway. This will be carried forward to 15/16 (see EAP –
action E)
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M - complete / success criteria met
N – complete / success criteria met – a review of the event was uploaded to the website
O – the submission requirements were changed, and, although this clarified submission requirements for
PPP3 and Extended Practice, and reduced the workload for Extended Practice, the delivery of the
portfolio element in PPP3 did not take place for the full year as planned. The emphasis was placed
during the last few weeks leading up to assessment deadline, resulting in the work being rushed. The
selection process for GFW, although in theory, allowed sufficient time for any refining of portfolios
prior to the GFW event, in reality was too late, due to the amount of refinement required and the time
it took to have the portfolios printed and finalised. This will be carried forward to 15/16 (see EAP –
action A)
P – NSS score ‘feedback on my work has been prompt’ - complete / success criteria met. The score is
13% higher than 13/14 and the highest scored over the past 4 years.
2
Report on progress made in relation to conditions of approval and recommendations arising from the
latest OU (re)validation report
All conditions from the 2012 Revalidation were met in full.
3
Report on progress made on addressing issues arising from engagements with QAA, OFSTED and
other professional/statutory bodies. (You are encouraged to attach copies of any relevant reports.)
N/A – see Section 17.
STATISTICAL DATA
4
Programme statistics
Please submit a separate Progstats spreadsheet for each programme, renaming each spreadsheet to include an
abbreviated version of your institution’s name and the programme title. If the programme is presented in different
modes (e.g. full time/part time) please complete a separate spreadsheet for each of these.
5
Comments on statistics
For each of the headings, please comment on how the statistics compare to previous years, whether there are any
discernible trends and, if relevant, how this fits with your institution’s mission and any actions taken as a result.
Where student numbers on a programme are small (typically under 20 per cohort) meaningful analysis of quantitative
statistical data is often not possible. You may therefore find it more productive in this case to comment on qualitative
data or trends.
5.1 Comments on recruitment, entry qualifications and student profile patterns. (See tables 1, 2, 3 & 4 of the
Progstats spreadsheet.)
2014/15 recruitment identified an increased conversion rate from application:offer, but a slightly
decreased level of conversion from offer:enrolment. The programme enrolled one student below target
(49 enrolments against a target of 50); the previous 2 years demonstrate an increase in enrolment in
relation to the target recruitment figure.
Throughout last year, some fundamental work was done to update the marketing information for the
programme; this included updating of Prospectus copy, updating the key descriptors on www.ucas.com
to ensure the programme was identified through applicant’s searches, and ensuring the Open Day
presentation offered up to date and clear information on both the programme as a whole, and the
differentiation between the two pathways. Internal progression activities also took place, such as a
‘subtraction cutting’ full day workshop with Foundation Diploma and Extended Diploma students, which
was attended by 40 students and positively received, and a series of presentations from the Fashion
team and industry contacts, that focussed on specific career pathways in the industry, the series titled ‘A
Day In The Life…..’
Possibly as a result of the increased internal recruitment activities, and the nature of these activities,
internal applications have increased significantly during 14/15 from Extended Diploma and Foundation
students. However, conversion rates, although showing an increase numerically, have declined pro rata,
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suggesting the need to address the potential reasons why applicants are choosing alternative institutions.
From a department perspective, the interview process will be reviewed, to see how we can refresh this
process. From a wider institutional perspective, a Staff Development session that focuses on recruitment
is being held early in the academic year; this should draw out some of the issues around conversion (i.e.
incentive based recruitment strategies), along with some potential solutions.
Strategies to increase initial applications (including internal applications) and conversion for 15/16 are
identified in the EAP. (see EAP – action F)
Entry qualifications remain relatively consistent with those from previous years, with the majority of our
students progressing from either A Level, Foundation Diploma or Extended Diploma (Art & Design
related) programmes. The profile continues to demonstrate a relatively balanced mix of student
qualifications; the staff team consistently review the interview process to ensure a fair and inclusive
selection process.
The student age profile remains predominantly within the ‘under 21’ banding; however, 14/15 year shows
a 100% increase in students falling into the ‘21-29’ age bracket compared to the figure for 13/14 (i.e. 4
students against 2 respectively).
There has been no increase in the mature student demographic from 13/14, which is disappointing, as
these students bring experience and diversity to the department.
Male student recruitment remains low, with the same number of male students compared to 13/14 (3 /
6%) enrolling. The department is keen to increase male recruitment, as this will enhance diversity within
the student body. It is hoped that, with the input of tailoring and menswear, specifically through the
project brief for the L5 30 credit, pathway specific Design & Realisation module, along with the higher
male staff ratio on the Communications pathway, this will result in increased male applicants.
International applications dipped in 2013/14, compared to 2012/13 figures, but rose again in 14/15. The
acceptance rate was zero in both years preceding 14/15, with one international student taking up a place
in 14/15. It is anticipated that this number will increase to 3 international students accepting their offer for
15/16, signifying a relative increase.
5.2 Comments on progression, retention and destination patterns. (See table 5 and table 6 of the Progstats
spreadsheet.)
There has been a reassuring decline in students withdrawing or deferring from the programme over the
past 5 years, with only one student withdrawing, due to personal circumstances, during 14/15. A robust
student attendance strategy that was implemented from the beginning of the year seems to be proving
effective in student retention.
There has been, however, a relatively sharp increase in students who have had their studies referred, or
who have failed their studies outright in 14/15. Parity of academic rigour and submission requirements,
across pathways and individual modules, has resulted in increased consistency of assessment, and, as
such, gone some way to manage student expectations of grades from one module/level to another. The
fall-back of this, however, is an increase of re-submissions and fails during the process of this parity
being fully embedded and it is anticipated that the level of re-submissions and fails will decrease in future
statistics.
According to the statistics, the number of graduates in employment has declined by approx.12%
compared to 13/14. This may be representative; however, through direct contact with students, there has
been a notable increase, compared to last year, of students securing fashion related posts in the Fashion
Design or Communication disciplines, before, or within one month, of completing their studies. The
figures also state that no students have progressed to further study, although one student has
progressed to PGCE.
The discrepancies in the stats may have arisen from the number of respondents not representing the
entire cohort.
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The department is keen to increase the number of students progressing onto further study, particularly
Masters level; coincidentally, a graduate from 13/14 (Communication pathway) is in the process of
applying to the LCA Creative Practice MA; this students direction tends to lean toward a fine
art/interdisciplinary genre; therefore she would be well suited to this type of post graduate study
programme. During Graduate Fashion Week (June 2015), the team was approached by the Course
Director of the MA Fashion programme at University of Kingston, who, through discussion, felt that our
undergraduate programme philosophy reflected that of the MA at Kingston. As a result of the quality and
content of two of our student portfolios, places on the MA were offered, without interview to these
students. The students are considering whether to take up the offer, although costs of further seem to be
the prohibitive factor. Students are informed of bursaries that are offered for MA study (i.e. RCA), to
encourage consideration over the feasibility of MA study.
5.3 Comments on classifications and grades. How does this compare with the data from HESA provided by
CICP? (See tables 7A & B of the Progstats spreadsheet.)
Classifications, in relation to banding ratios, follow the latest HESA stats (13/14). However, there are
fewer 1st Class grades compared to last year; this is, no doubt, as a result of increased equity in
assessment across the two pathways that has come into full effect this year, with new Programme
Leader in post.
Last year’s 1st class grades sat 10.5% above HESA stats (albeit grades did not exceed the 70%-79%
banding), suggesting there was a need to monitor assessment across the whole cohort. Although there
have been fewer 1st Class grades this year, we have seen some exceptional work for the 60 credit
Extended Practice module which has increased overall ‘Class’ grades beyond those of last year.
Overall, the grades have shifted to the upper three bandings, compared with those of last year, with a
significant reduction in 3rd Class grades. A more structured Formative process has been positively
received by students and is likely that this has reflected on the increased grades. During the assessment
of Extended Practice in particular, it was noted that students were achieving an average of 5% higher
grades than anticipated, as a result of both their dedication to study and detailed, regular feedback on
their progress.
There continues to be no Fail grades at L6; the team have discussed any borderline pass/fails
thoroughly, to ensure that there is equity in grading, particularly across the two pathways.
As an aside, but a point to note, there is some discussion within the sector (fashion) around the banding
Of 1st Class classifications (i.e. 70%-100% against 80% - 100%) and the equity of this, nationally.
5.4 Comments on appeals, complaints and disciplinary data, including an account of how any cases have
been dealt with. (See table 8 of the Progstats spreadsheet.)
All appeals and complaints received were dealt with according to the Academic Appeals Policy and
Procedure and Complaint Policy and Procedure.
Appeals
Number of appeals received
Number of appeals upheld
Number of appeals not upheld
5
0
5
The number of appeals received has increased from 2 in 13/14, to 5 in 14/15; the appeals have, in the
main, been submitted by L6 students and focus on the grounds of inconsistent tutor support. However,
as the figures show, none of the appeals submitted were upheld. Despite the rejection of the appeals,
this is an area of concern for the department (see EAP Action D)
Complaints
5
Number of complaints received
Number of complaints upheld
Number of complaints not upheld
2
0
2
The number of complaints received this year, compared to 13/14 has reduced by 50%, from 4 to 2.
Neither complaint was upheld. Despite the reduction in complaints, this highlights that there is a level of
dissatisfaction that requires attention (see EAP Action D)
Disciplinary
There were no disciplinary cases received.
5.5 Comments on ethnicity and disability data. (See tables 9 & 10 of the Progstats spreadsheet.)
Ethnicity
The BME statistic of 14% shows an increase on last year’s figure of 7.5%; the programme team work
hard during the interview process to secure a diverse range of students from differing backgrounds and
abilities. This is also embedded into programme visual material at open days.
Disability
The number of students with a known disability including dyslexia has decreased from 23% in 13/14, to
14%, a reflection of 12/13 statistics. 12% (the majority) of students with a disability fall under the
category of Dyslexia.
CRITICAL ANALYSIS
6
External examiners' reports
Please attach all external examiners' reports, and a copy of your letter giving the formal response to each of these.
Number of reports attached:
1
6.1 Where reports from external examiners have been judged to provide insufficient information or have
been submitted very late, please indicate below the measures taken to ensure that this does not recur.
The External Examiner report was received within good time in order to respond and disseminate
information to the staff team for next year’s planning.
6.2 Report on action taken and planned following receipt of external examiners’ reports.
This should include an account of how reports were considered by programme teams, departments and the
committees responsible for quality assurance. Where no action was taken, a rationale must be provided.
The two EE visits have given the opportunity for the whole team to discuss key developments and areas
that still require improvement, with the External Examiner. The response, both verbally, and through the
report, are generally positive, and reflect the feelings of the team, in terms of progress made and ‘next
steps’.
Following are the key points raised in the report, as areas for further development, and an evaluation
relating to each point:1. “I would advise and encourage students continue to develop in their presentation of portfolio work
especially focusing on layout, graphics and font with a purpose to ensure portfolios reflect students
personal identity and career ambitions and are within a contemporary professional context”.
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6.2 Report on action taken and planned following receipt of external examiners’ reports.
This should include an account of how reports were considered by programme teams, departments and the
committees responsible for quality assurance. Where no action was taken, a rationale must be provided.
Although some work has been done to improve portfolio presentation this year, this remains a key area
that requires development across the programme as a whole. Upon reflection, and discussion during a full
day curriculum planning event, portfolio development has been embedded into the PPP modules for 15/16
delivery, through both practical workshop sessions, and 1:1 tutorials, from L4 through to L6. Graduate
Fashion Week requirements, relating to standard of student work presented at the event, along with our
positioning as a highly credible programme at events such as this, has been the catalyst for focus in this
area. (see EAP – action A)
2. “Students in communication also presented some good to excellent work with using a wide range of
publishing tools and techniques. I would certainly encourage the college/programme to invest in dedicated
sessions for students in Adobe In-Design and Final Cut, the latter especially for those interested in Film.
Adequate provision should be offered to ensure students in Communication are fully conversant with these
tools, given their importance to fashion publishing and related industries”.
Additional workshops have been included into the delivery structure for 15/16, not only to ensure that
Communication students become fully conversant with these tools, but also to ensure parity of technical
support across both pathways and relative to each pathway’s specialism. (see EAP – action C)
3. “At L6, Fashion Communication students would benefit similar to Design students from having more
structured schedules most notably in relation to critiques throughout the academic year. Students at L6 in
Fashion Design were very satisfied with the incremental stages and checks to ensure their development
and progress and highlighted this as an important and very useful way to ensure they remained focused
and clear about their direction of study”.
The scheduling of regular Formative critiques throughout CoP3 and Extended Practice for Design students
proved highly effective in helping students to manage their workload, tracking individual student progress,
both in terms of time-management and innovation and creativity within their body of work, and to ensure
that the students felt fully supported throughout their final year of study. As a result of such regular
Formative critique/tutorial points, the Summative assessment process was facilitated through an in-depth
awareness and acknowledgement of each student’s individual input, both through the final outcome and
throughout the work process as a whole, gained from the Formative process.
It is essential that this structure is reflected across the Communication pathway at L6 and the PPP3 module
across both L6 pathways throughout 15/16, from the start of the academic year. (see EAP – action E)
4. “Fashion Communication students felt they didn’t have a dedicated space similar to Design students,
and subsequently felt the course lacked its own identity. Significantly all the Communication students I
met shared the same way and believed their experience would have been better if they had an allocated
space that enhanced their discipline”.
The L6 Student Representative has also raised this point at Programme Board; it has been acknowledged
and, as a result, room 101 has been re-designed as a L6 Fashion Communication studio. A Capital Bid
request for additional MACs was submitted and approved; this resource will be installed into room 101
prior to the students re-commencing their studies in September 2015. Communication students will still be
free to access all other studios, which will be a necessity should their practice involve garment
manufacture. Previously, the studios had been set up as multi-functional, to facilitate timetabling and
student access to resources during Private Study periods; however, due to the nature of Fashion, although
each studio has access to MACS, the studios were primordially resourced with garment manufacture
equipment; during busy times space was taken up by bulky items, such as pattern pieces, toiles, and
garment components, resulting in clear access to the more MAC based aspect of the programme being
somewhat restricted.
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6.2 Report on action taken and planned following receipt of external examiners’ reports.
This should include an account of how reports were considered by programme teams, departments and the
committees responsible for quality assurance. Where no action was taken, a rationale must be provided.
5. “The use of fabric and material by students in design was varied with those that had a contemporary
awareness and those that did not. Equally it was evident with students who had made more efforts to
source materials with those that didn’t. It remains a constant challenge for the course team in fashion
programmes across the country and especially those outside of London to ensure students are aware of
contemporary developments and availability of modern materials. I would highly recommend the
programme team continues to develop ways in which to improve student knowledge and exploration of
fabric for fashion”.
This point was raised in last year’s EE report; the Formative process at L6 has been effective in checking
material choice, suitability, and application, resulting in a significantly broader range of fabrics being used
across the L6 collections. Throughout 14/15, more focus on materials has been placed across the
programme through design and garment manufacture modules, along with an increase in garment
manufacture per se; this has offered students the opportunity to explore and test materials further.
Although the challenges in sourcing sample lengths of modern material is acknowledged, and more work
will be done through, for example, creating a database of suppliers for students, and through emphasising
the importance of materials research during, for example, the L5 trip to PV, focus should also be placed
on fabric sourcing with the sustainability agenda in mind, along with further exploration into how, often
basic fabrics, can be used innovatively; a response to students’ comments on the cost of their graduate
collections has highlighted this as a strategy to encourage students to be resourceful when purchasing
materials, and instead place focus on technical and surface techniques through the development stage of
their collections (CoP3).
6. “Finally, I noted from students in Fashion communication that they preferred project briefs specific to
their subject area as opposed to 1 brief for both pathways. I am not sure either way if this had a major or
minor impact on their learning outcomes but do believe it had an impact on their learning experience and
expectations especially at L6. I would advise the programme team discuss and consult with each other on
addressing this area”.
This point is duly noted, and will be addressed when writing the briefs and scheduling for 15/16. Certainly
at L6, although all modules are common (cross-discipline), there is a need to differentiate the requirements
for each pathway, in relation to the skillset and ultimate output. (see EAP – action C)
7. “In relation to staffing I would like to draw attention to the technical and pattern cutting area where
students demonstrated satisfactory skills and were fully supported by an excellent technical team. At the
same time I did discuss the pressing need for an academic pattern-cutting lecturer role as essential for the
Design [pathway]. Most importantly to ensure that the latest approaches, techniques were considered,
students were creatively challenged and practices maintained contemporary and modern. It’s very
important that technical staff i.e. demonstrators are not made entirely responsible for the teaching of
pattern-cutting as this will limit the creative development considerably whilst compromising the potential
outcomes. Emphasis here is on the 3D creative technical development and not necessarily just the
practical”.
Although the role of an Instructor Technician is to support a teaching session, not teach or lead a session,
an element of the role of the Workshop Manager is to lead technical workshops. To some degree, the
department can include more, albeit purely technical, workshops through pattern-cutting and garment
construction methods relating to components of, for example, a tailored jacket or a shirt. However, the
academic team are responsible for the delivery relating to the creative synthesis and process of translation
from 2D concepts to 3D realisation. Although the Design team can deliver pattern-cutting and garment
production techniques from a contemporary design perspective, the team is lacking a true specialist in this
field; as the programme gains momentum and direction, in the short-medium term, it is anticipated that a
Fractional post for a pattern-cutting specialist would be considered. In the meantime, Visiting
Professionals, such as Julian Roberts (internationally renowned pattern-cutter and innovator of the
‘subtraction cutting’ technique), and Irene Spink (pattern-cutting Lecturer at University of Huddersfield for
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6.2 Report on action taken and planned following receipt of external examiners’ reports.
This should include an account of how reports were considered by programme teams, departments and the
committees responsible for quality assurance. Where no action was taken, a rationale must be provided.
many years) enhance this aspect of the programme. The team continue to make contacts in the industry
with pattern-cutting experts, with the Visiting Professional agenda in mind. (see EAP – action G)
8. “Further points to consider for the programme team are:
-Continue to build on student portfolio work at L6 as highlighted earlier (see point 1.)
-Continue to build on fabric awareness as highlighted earlier in this report (see point 5.)
-Continue to successfully work with local partners and fashion industry where possible
-The college should continue to support the fashion programme at key events like “Graduate Fashion
Week”.
6.3 Report on action taken to share external examiners’ reports with students.
This should include an account of how reports were distributed to student representatives and if there was any
subsequent action or feedback.
External examiner reports are uploaded to a special area within the VLE for students to view.
The name and institution of each programme’s external examiner is also uploaded on the VLE for
students to access.
External examiner reports and responses are submitted to and discussed at Programme Boards of
which student representatives are members.
7
Engagements with Academic Reviewers
Please report and reflect on all engagements with Academic Reviewers during the year, including
issues raised and actions taken. Please attach the Academic Reviewer report.
The Academic Reviewer did not engage specifically with this programme.
REFLECTION
8 Student feedback
Where student numbers on a programme are small (typically under 20 per cohort) meaningful analysis of quantitative
statistical data is often not possible. You may therefore find it more productive in this case to comment on emerging
trends or qualitative data.
8.1 Please provide an account of all the formal and informal methods through which student feedback was
collected and how it was analysed and considered within the institution. (Please attach a copy of any
feedback forms you have used.)
Student feedback mechanisms set out below, applicable to all higher education programmes, provide an
overview of the formal channels through which the student voice at the College is heard and ways in which
students contribute towards quality assurance and enhancement of the student experience. The College
also encourages students to voice their opinion as and when they feel necessary and each programme
area works with an ‘open door’ approach based on a student-centred environment which aims to support,
challenge and ultimately empower the student through active and collaborative learning. Methods of
student feedback include:
9
8.1 Please provide an account of all the formal and informal methods through which student feedback was
collected and how it was analysed and considered within the institution. (Please attach a copy of any
feedback forms you have used.)
Student representatives
Each programme elects representatives from each year who is appointed to voice the views of their peers
at programme boards and the Student Council. As a representative body, the Student Council forms a part
of the Students’ Union Constitution. Student representatives are asked to collect and collate feedback from
their peers and to raise issues where appropriate with the Programme Leader or at the next scheduled
Programme Board. The Student Union president is also a member of the Academic Board whilst student
representatives are elected to serve on the HE Committee.
Programme Boards
Students are involved in the quality assurance processes on their programme through student feedback
gathered and actions agreed during Programme Boards. This process feeds into the College’s annual
programme evaluation process. The Programme Boards meet at least three times per year and are
scheduled in advance early each academic year. The Boards give the students the opportunity to provide
feedback on any matters relating to their programme directly to programme staff through their student
representatives who are full members of the programme boards.
End of Module Evaluation
At the end of the delivery of each module, all students are encouraged to complete the End of Module
Evaluation. The End of Module Evaluation is made up of a core set of questions to allow for the collation
of a standard set of data into an End of Module Report which feeds into module reviews and annual
programme evaluations.
Your Student Survey (YSS)
Level 4 and 5 students are encouraged to take part in the Your Student Survey based on the same
questions as the NSS.
National Student Survey (NSS)
The College encourages all final year undergraduate students to contribute to the National Student
Survey which is carefully analysed and actions identified by the programme teams, the Quality &
Standards Office, the Academic Board, the HE Committee and the Learning, Teaching and
Enhancement Committee.
8.2 If a report on the student feedback for this programme has been produced, please append it.
If the report does not comment on teaching quality, learning resources, assessment and feedback to
students, and personal development planning (PDP) opportunities, please comment below. Your
comments should cover:
a) the outcomes of the feedback,
b) the action taken as a result of feedback, and
c) how this action was communicated to students.
Please see Appendix 2 – ‘Student Feedback Report’
9
Feedback from teaching staff
Please give an evaluation of comments from those who teach on the programme
This may include discussion of suggestions for amendments to curriculum design, content and organisation or
the programme’s aims, how assessment strategy has enabled learners to demonstrate achievement of learning
outcomes and any external factor affecting the programme. Supporting evidence (e.g. feedback from external
sources such as professional bodies, employers, students, graduates, external examiners, or data on student
progression, achievement or destination) is welcomed.
It is highlighted through NSS results and the level of appeals and complaints, that there is a notable level
of student dissatisfaction. As previously mentioned, this is a major focus for improvement, driven by the
new Programme Leader, but ‘owned’ by the whole team.
Organisational structures and strategies to monitor attendance have been discussed and implemented,
through, for example, timetabling, detailed and clear Module Briefs and Module Overviews, and timely
communication to students.
10
Please give an evaluation of comments from those who teach on the programme
This may include discussion of suggestions for amendments to curriculum design, content and organisation or
the programme’s aims, how assessment strategy has enabled learners to demonstrate achievement of learning
outcomes and any external factor affecting the programme. Supporting evidence (e.g. feedback from external
sources such as professional bodies, employers, students, graduates, external examiners, or data on student
progression, achievement or destination) is welcomed.
Enhancing the profile of the programme is being addressed, in the first instance, through practice-based
and market research; the following section outlines some of the work that has been undertaken by the
whole team.
An intensive Curriculum Planning Day was held July 2015, to discuss the programme ethos and
individual module content. As the meeting had full team input, this ensured that ideas for module content
enhanced the programme holistically. Focus was placed on methods in which teaching content can
further differentiate the two pathways and ensure that the students on both pathways and all levels of
the programme acquire appropriate skillsets. The Module overviews are included in Appendix 2 of this
document; these give module-by-module reflections and action planning for 15/16. The timetable
scheduling for 15/16 also ensures that all necessary skills are delivered and that the timetabling of
sessions facilitates a smooth running of the programme.
Assessment Review Process
The ARP process is a useful mechanism that ensures the clarity of assignment briefs and that the
Learning objectives clearly link to Learning Outcomes, as well as identifying areas of good practice.
Some key comments relating to this year’s ARP process as follows:OUF402 – PPP1
“…this is an excellent and tangible example of programmes engaging in the global dimensions that are
mentioned throughout the programme specs.
The students will undoubtedly benefit from the experience. It would be good to consider if there was a
way in which the winning students of this live brief could feedback their experiences to future year
groups.”
OUF405 – Fashion Production & Processes
“Excellent identification of where students are expected to focus and engage in private study time (Bold
in module overview) which at level 4 sets an effective structure - a good example of potential best
practice.”
OUF407 - Fashion Practice and Contemporary Context
“The content is relevant and the trend data had been populated to reflect contemporary seasons, brands
and directions reflective of the industry as a broad whole.”
OUF502 – PPP2
“There appears to be a directive that all students will undertake work experience and perhaps this could
be amended to include alternative, yet relevant experiences to allow for availability, cost, and
appropriate-ness to be considered. Particularly as the module specs don’t indicate the necessity of a
work experience nor does the submission evidence rely on the above.
I would also question the 5 months of self-directed study Jan-May in which it appears there is no
tutorials/interim crit? Assuming the work placement falls within this period what support is there in
securing the placements or checking progress?”
OUF503 - Responsive
“In discussion with the module leader the approaches to assessment are appropriate, however within the
module brief there is some ambiguity regarding the assessment of work which could be interpreted as
group assessment - (In reality it is individual assessment, of individual work within a group setting). The
assessment outcomes identify that the students are required to make a garment and put together a
campaign which are packaged together and students assessed against one or the other components.
11
Please give an evaluation of comments from those who teach on the programme
This may include discussion of suggestions for amendments to curriculum design, content and organisation or
the programme’s aims, how assessment strategy has enabled learners to demonstrate achievement of learning
outcomes and any external factor affecting the programme. Supporting evidence (e.g. feedback from external
sources such as professional bodies, employers, students, graduates, external examiners, or data on student
progression, achievement or destination) is welcomed.
Again, this is worth revising for clarification purposes. Whilst I am happy to approve this in that the values
and approaches are in line with quality assurances, I would encourage greater transparency for student
understanding.
Distinctions between individual assessment, roles and working as part of a group are now explicit and the
student should be clear as to the expectations and outcomes throughout. 7/1/12”
OUF505 - Fashion Concepts & New Media
“One point of clarification to consider – the students are expected to pitch orally their ideas/work however
within the module overview there is no sessions or indications of handouts etc. so help facilitate this,
equally it is not an assessable outcome. Is the assumption that this skill set has already been taught
elsewhere in the programme and therefore all students will be proficient in oral presentations? And by
extension, is the oral presentation intended therefore to provide context to the work submitted?
Above discussed with Module Leader and clarified. 8/1/14”.
OUF507 - Fashion Design & Realisation
“A good clear brief using a clear, accessible voice.
Very detailed list of external links to research materials.”
OUF601 – CoP3
“It is an excellent practice to include a definition of synthesis in the Module Information. This should help
students understand the aims of the module. The Module overview is very thorough and clearly highlights
where students are receiving tutor and peer input.”
OUF602 – PPP3
“The workload and expectations of the student cohort is commensurate for a 20 credit brief at level 6.
There was some initial queries and a request to indicate what nature and scope of the sub-brief PPP
projects that they respond to? Are they external, do they find them, are they set tasks etc.? This has
been clarified although perhaps for future these might be better set as study tasks or similar for clarity.
For the cv and business card, 25% weighting, is that the full extent or would they be expected to identify
potential sources to distribute that pack to for example? – It has been made clear that the students packs
are more significant than might be initially implied and that the promo/cv packs are considered with
potential targets/audience also documented.”
Peer Review – December 2014 - BA (Hons) PTSPD & BA (Hons) Fashion
Aim - to identify and consider the challenges faced by students financially in undertaking the
respective programmes. The rationale and background contexts for this as a theme of enquiry is in
response to continuing evidence within National Students Surveys (NSS), end of module evaluation,
in year surveys and actions raised in Annual Programme Evaluations (APE) that the burden of costs
is an increasing concern for students.
Conclusion The programme team concluded with the understanding that we are acutely aware of the costs
involved in undertaking the programme, that students are faced with burdens but that we (staff)
are actively engaged with finding solutions to alleviate these concerns whilst still offering a level
of excellence in delivery and experience throughout the degree and into post graduate
opportunities in keeping with the college mission statement.
The key points of action centre on clarity of information at first point of enquiry, embedding a culture
of invention and prudence over expenditure, and lastly, promoting opportunities for sponsorship,
collaboration and external engagement without recourse to undermining the provision or devaluing
the currency of the degree.
12
Please give an evaluation of comments from those who teach on the programme
This may include discussion of suggestions for amendments to curriculum design, content and organisation or
the programme’s aims, how assessment strategy has enabled learners to demonstrate achievement of learning
outcomes and any external factor affecting the programme. Supporting evidence (e.g. feedback from external
sources such as professional bodies, employers, students, graduates, external examiners, or data on student
progression, achievement or destination) is welcomed.
Summary Report 1. Reiterate assessment practice, learning outcomes and that expenditure does not equate to
academic success;
2. Exemplars of costings for a module to help inform decisions of potential applicants, give a sense
of average cost;
3. Review equipment lists to offer better savings;
4. Speak to QA/Administration to review/add to module evaluation forms to be fit for purpose;
5. Provide sessions on effective research and printing strategies and embed an ethos of ‘responsible
design’ at L4;
6. Promote events such as ‘Worthless & Priceless’/’Find & Use’ as positive examples;
7. Explore further collaboration options between the respective programmes;
8. Provide sessions on seeking sponsorship at L5;
9. Review sponsorship and bursary opportunities;
10. Signpost to the students the positive net gain from opportunities to their degree provision;
11. Where enhancement opportunities are offered, that they are presented clearly upfront;
12. Consider and review the challenges of undertaking protracted work experience opportunities.
(see EAP – action I)
Activities to support market research
With the new Programme Leader in post, the team has undertaken a series of activities relating to market
research in order to look strategically toward the future direction of the programme. Research and
scholarly activities include: Slow Fashion
 Market intelligence from an international perspective (i.e. visit to Amsterdam Fashion Institute
(AMFI)) informed the notion of ‘Reality School’ and how this could be embedded into the
curriculum in context with a defined USP. Recent links with Lambert’s Yard and the CFE could
support this research.
 Collaborative/multi-disciplinary practice
 MA study
 Curation and exhibition of work
 Dynamic delivery methods
 Community and collective empowerment
Staff Achievements:
Sam Hudson awarded HEA Fellowship status
Student Achievements:
L6
Beth Peacock – Nilorn UK (graphics, branding)
India Fox – George (merchandising)
Jess Higgins – Fashion PR, London
Laura Sweetingham – Arcadia Group (web-based PR)
Katie Davis – Wyedean (Head Tailor)
Grace Johnson – IPL (Buying Assistant)
Marissa Ellis Duboko, Grace Johnson, Lara Way – graduate collections selected to showcase in
Lambert’s Yard
Megan Compton, Lara Way – invited to study MA Fashion at University of Kingston, on the strength of
their graduate portfolios showcased at GFW
Nina Chavdarova, Ciana O’Reilly, Bethany Ruston - finalists Hawes & Curtis competition – Ciana and
Bethany are undertaking a 6 month internship at London HO
13
Please give an evaluation of comments from those who teach on the programme
This may include discussion of suggestions for amendments to curriculum design, content and organisation or
the programme’s aims, how assessment strategy has enabled learners to demonstrate achievement of learning
outcomes and any external factor affecting the programme. Supporting evidence (e.g. feedback from external
sources such as professional bodies, employers, students, graduates, external examiners, or data on student
progression, achievement or destination) is welcomed.
L5
Robyn Shaw –
Harriett McHugh – winner of the Alfred Brown menswear tailoring competition. Prize – garment
showcased at ‘Idealla Biella’, Milano Unica, Milan
Harriett McHugh – sustainability project with Ushiwear has spring-boarded a publicity shoot showcasing
her garment, and a summer internship
L4
Bethan Jones, Jodie Reynolds – winners of the Confucius Cheongsam design competition. Prize – 2
Weeks all expenses paid cultural, industry and educational trip to Beijing.
Internationalisation
As part of the PPP1 module, level 4 students were involved in a collaborative project with The Business
Confucius Institute, an educational organisation, jointly established between the University of Leeds and
the University of International Business and Economics in Beijing with the objective to develop
educational collaboration between China and the UK, focusing on the support and expansion of Chinese
language education and to also enhance a mutual understanding between the UK and China. The brief
was open to both pathways and involved designing a commercially viable garment based on the
Cheongsam or Qipao.
Students utilised the ULITA archive and attended a range of workshops covering Mandarin language
lessons, calligraphy, paper cutting and Chinese symbolism to inform and inspire their design
development, whilst taking into consideration current trends, target markets, contemporary / traditional
techniques and fabric.
BCIUL representatives selected two winning designs (one from each pathway) and the winners worked
with the technical team to realise their ideas so that they could take them to China and present to a
number of fashion companies in China including Meng Luo Chuan and LALABOBO. This has resulted in
the possibility of summer internships for both students in 2016 and the introduction of a level 6
competition with the potential prize of a graduate internship scheme with LALABOBO.
“The cross culture collaboration between Leeds College of Art and BCIUL was very successful. It
promoted Chinese culture to design students and offered them the opportunity to understand and explore
Chinese culture, not only the language, but also from arts aspects.
The incorporation of language course and culture workshops into a fashion course is very unusual, but
reflects the skills that we all need to develop in this changing world. It is very likely that students will have
some link with China in their future careers.
Students received six language sessions last term, which covers different topics of Chinese elementary
knowledge, which including introduce themselves, how to order food, lessons of colors and clothes were
also provided in class to meet student’s needs. Students’ efforts in the language part reflected their
potential to thrive in the professional world through developing themselves and learning new skills.
Cultural workshops were great successful. Students showed their deep interests in these workshops
including Chinese paper cutting and calligraphy, which has allowed them to turn acknowledges into
practice. Students have shown positive attitude with high enthusiasm in their works.
Two winners of this project obtained a wealth of inspiration from the trip; they also had the opportunity to
meet people involved in the Chinese fashion business, which has given them a platform to develop
themselves as a designer, making contacts and gaining valuable experience”.
Jing Wang
Confucius Institute
14
10 Employer feedback
If the programme has employer links, please give an evaluation of employers’ feedback.
For foundation degrees, give an account of the continuous involvement of employers in programme design and
assessment.
If the programme involves student placement, give an account of the effectiveness of the arrangements in place,
and how they can be enhanced in light of engagements with employers and student feedback.
The Fashion programme provides many live projects, work experience and competitions for the students
to be involved in; industry engagement is integral to the discipline, and is proven in our students securing
graduate positions immediately upon completion of the programme, or shortly after.
Live projects/competitions: I-D Diversity competition
 Hawes and Curtis competition (white shirt)
 Louis Vuitton ‘I Am Luxury’ competition
 Urban Outfitters in-store fashion illustration exhibition
 Harvey Nichols photo-shoot / look-book
 The Hip Store visual merchandising
 The Golden Shears Tailoring Competition
 Alfred Brown (Worsteds) tailoring competition / sponsorship
 Confucius Institute design competition
Visiting professionals: Patrick Ian Hartley – Artist
 Adam Jagger – Executive Buyer, Lambert’s Yard
 Kay Brown – Fashion Blogger (Cheery Little Thing)
 Irene Spink – Pattern Cutter
Although the College does not require students to undertake a work placement; the Fashion programme
team view work experience as a fundamental element of the programme and one which adds value and
offers potential graduate employment. The team have built a network of reputable employers and
industry contacts, which has resulted in many of our students undertaking a work placement throughout
L5 and/or during the summer break leading into L6 study.
L5 work experience destinations:Studio 409 - Dundee
Ray Sherlock – Manchester
Oxfam Distribution Centre – Batley
Victoria Black - The Remake Remodel Shop - Manchester
Bozena Carter - Leeds
All Saints Retail LTD – London
River Island Clothing Co – London
Bolongaro Trevor - London
KTZ - Kokon to Zai - London
Vivienne Edge Photography – Leeds
Henry Poole – Savile Row, London
Sanctus Clothing – London
Vast - Leeds
Dizzy Ink – Nottingham
J.W. Anderson - London
The House - Yarm
Albion LTD – Leeds
Toria Brightside – Manchester
Donna Kernen - London
Photolink - Manchester
Jyoti Matoo - Leeds
Primark – Reading
15
If the programme has employer links, please give an evaluation of employers’ feedback.
For foundation degrees, give an account of the continuous involvement of employers in programme design and
assessment.
If the programme involves student placement, give an account of the effectiveness of the arrangements in place,
and how they can be enhanced in light of engagements with employers and student feedback.
Below shows some examples of the positive employer feedback that we have received.
Employer feedback:“The team at Harvey Nichols Leeds was honoured to be involved with the judging of the students’ work
this year and enjoyed working with them on the shoot. We found both the shoot and presentation process
well planned and organised. We saw varying standards of work, but were particularly impressed to see
how some students, just starting out in their careers, were not only incredibly creative but also able to
adapt their ideas to fit a brief and satisfy the needs of a brand or client. It was evident that the majority of
students had put a lot of time, thought and effort into creating something well thought out and presented
in a quality way. We relished the opportunity to share our experience and knowledge and hope that our
feedback was valuable to those we spoke to.”
JESSICA LOWE
PRESS, MARKETING AND EVENTS MANAGER
HARVEY NICHOLS
“Carmel was a very reliable member of staff during her 9 month or so with us; she proved herself in most
aspects of the shop, along with this, she also showed a flair for the creative aspects of retail. We give
Carmel several different tasks that involved vision, an eye for detail and the ability to set and follow a
critical path. Carmel also showed her end of year show at Lambert’s Yard and delivered a fantastic
concept driving interest with Customers Students and Press.
During Robyn’s 3 week work experience with Lambert’s Yard, she managed to work across several
different departments, excelling at all. We found Robyn’s creative skills a real asset to the team and she
proved herself a very talented writer. Robyn always delivered above and beyond her brief and always
met deadlines.”
Adam Jagger
Retail Director - L A M B E R T ’ S Y A R D
Work experience is a focus for L5 and a clear link into graduate opportunities. This is an area that the
new Programme Leader would like to further develop in order to ensure that more students are provided
with the opportunity to take on a placement during the given timeframe. (see EAP – action G)
RESOURCES
11 Report on any significant changes to the physical resource base for the programme
Both staff and students have positively received the new studio space. There is now significantly more
space for L6 students to produce their final collections, timetabling is further facilitated, as has the
assessment process, as work can be arranged in a studio and kept secure, as students are able to work
in the other studios. The End of Year in-house exhibition was far better curated, as there are now two
distinct spaces for each pathway.
All studios have been set up as multi-functional spaces, to facilitate timetabling and students’ access to
resources during Private Study periods; however, L6 Communication students have raised the issue of
the need for a designated space solely for Communication work, not garment production. In response to
this, room 101 is being re-calibrated over the summer, to become a MAC studio for L6 Communication
students to focus on that aspect of their work, without the disruption from the bulky nature of design
student work. 10 MACs have been requested through Capital Bids for this purpose.
16
11 Report on any significant changes to the physical resource base for the programme
Additional pattern cutting tables with lockers, and Alvaform mannequins, that reflect more realistic body
size and shape than the existing K&L mannequins, were purchased through the Capital Bids process and
were in place for the start of 14/15 academic year.
The communal staff office is proving effective, in team communication and working team dynamic.
Students are able to locate individual staff more easily. The tutorial space is ideal for confidential 1:1s,
meetings and to be used as a quiet place for staff to work.
12. Evaluation of staffing resources.
12a List of all staff teaching on the programme and their role in the teaching team
Suzy Mason
Programme Leader (FT)
L6 Tutor – C&C pathway
Specialist area – fashion communication strategies, fashion concept rationales and placement, visual
communication, Dissertation, industry links, internationalisation
Due to personal circumstances, Suzy stepped down from her role as Programme Leader, to that of 0.6
Senior Lecturer in February 2015. Suzy subsequently left her employment at the College in April 2015.
Sam Hudson
Principal Lecturer (FT)
Co-ordinator (D&R pathway)
L6 Tutor (D&R) – temporary Maternity cover
Specialist area – fashion design, garment production, pattern-cutting, critical writing, visual analysis and
work process, tailoring
Sam took on joint Programme Leadership with Suzy Mason from August 2014, taking on full Programme
Leadership from February 2015.
Paul Luke
Senior Lecturer (0.8)
L5 Tutor (D&R and C&C pathway)
Specialist area – branding / graphics, fashion illustration, film/moving image, Adobe Creative Suite
(InDesign, Photoshop, Illustrator, Final Cut), industry links
Janie Tweddle
Senior Lecturer (0.7)
L4 Tutor (C&C pathway)
Specialist area – creative pattern cutting, garment construction, pattern-drafting, Adobe Creative Suite
(Photoshop, Illustrator), surface pattern, set design, costume design & construction
Nicola Knight
Associate Lecturer (fixed term)
L4 Tutor (D&R pathway)
Specialist area – styling, buying, fashion PR, fashion design
Nicola had previously covered Maternity Leave; Suzy’s leaving created a staffing deficit; with Nicola
being a highly valued member of the team, she was promptly offered a 0.4 permanent Lecturer contract,
commencing June 2015.
Caroline Riches
Senior Lecturer (0.6) (on Maternity Leave – April 2014 - June 2015)
17
12. Evaluation of staffing resources.
Specialist area – fashion illustration, textiles, design development, range building
Caroline returned to work June 9th 2015 and has been involved in the holistic curriculum planning for
15/16; therefore Caroline is settled into the new team dynamic and programme ethos.
Liam Jefferies
Principal Lecturer - Communication pathway (0.6)
Appointment commenced 29thJune 2015
Specialist area - physical and digital content convergence, viewer participation and engagement, digital
promotion, multiplatform content, non-traditional interfaces (eg, wearable tec, body tracking, GPRS),
social media engagement and effective practice, platform specific design, industry positioning
Liam was previously employed by the College as an Instructor Technician; he had also been involved in
L6 Communication student tutorials and was, as such, familiar with both the programme and the gaps in
The Communication pathway offer. Liam has been involved in the holistic curriculum planning for 15/16,
with a direct focus on differentiating, and stabilising, the Communication pathway.
12b Evaluation of the impact of any staff turnover
As a result of personal circumstances, Suzy Mason stepped down from the Programme Leader role in
February 2015, to become a 0.6 Senior Lecturer; Suzy subsequently left her employment with the
College in April 2015. Sam Hudson, who had been covering/sharing the Programme Leader role, took
the role on permanently.
Caroline Riches’ Maternity cover duration was from April 2014 until June 2015; Nicola Knight covered
until Caroline returned, and was subsequently offered a 0.4 Lecturer permanent post.
Liam Jefferies was appointed as 0.6 Principal Lecturer (Communication pathway) in June 2015.
The team complement, between the two pathway disciplines is balanced, with each member of the team
working toward the same vision, whilst having their own distinctive specialism. Existing and new staff
members have bonded well personally and professionally and are looking forward to starting the new
academic year with a refreshed outlook.
12c Details of staff development activities undertaken and how they were informed by staff appraisal
Staff development activities are identified and supported by the staff Annual Progress Review process.
As part of this process, team members identify relevant staff development activities that are relevant to
the modules and areas they are responsible for. Staff are required to complete these activities throughout
the year followed by a review as part of their Annual Progress Review. These activities include a range of
technical, conceptual and professional practices and include both internal staff development events and
externally arranged activities.
All staff development activities listed below directly inform the programme’s curriculum. In-house CPD
activities ensure all staff are aware of new processes, regulations and external factors that may impact
the College and/or individual programmes.
Sam Hudson
The Future of Fashion is Now – exhibition, Museum Boijmans Van Beuningen, Rotterdam (October
2014)
Women Fashion Power, Design Museum, London (November 2014)
Horst: Photographer of Style, V&A (November 2014)
Impossible Catwalk, Simon Costin, London College of Fashion (November 2014)
Disobedient Objects, V&A (November 2014)
18
12. Evaluation of staffing resources.
Egon Schiele: The Radical Nude, The Courtauld Institute of Art, London (November 2014)
Analemma: Fashion Photography 1992 – 2012, Viviane Sassen, The Photographers’ Gallery, London
(capsule) A/W 2015/16 Paris Men’s (January 2015) – 3 day event showcasing the finest apparel and
accessories brands from around the world
Premiere Vision, Paris (Feb. 2015) – fashion textile trade show
Deboutonner la Mode, Musee des Arts Decoratifs, Paris (February 2015)
Jacket Required, London (February 2015) - an invitation-only menswear tradeshow, showcasing a
Carefully edited selection of premium menswear casuals
Fashion Mix, Musee de le Histoire d’Immigration, Paris (February 2015)
Graduate Fashion Week, London (June 2015) – 5 day event on LCA Fashion stand and gathering market
intelligence on other national Fashion degree programmes
Alexander McQueen: Savage Beauty, V&A, London (June 2015)
Frida, Michael Hoppen Gallery, London (June 2015)
LC:M S/S 2016 (June 2015) – showcasing the breadth of British talent from the world’s most innovative
emerging talents to global menswear brands and Savile Row tailors
In-house Staff Development / CPD:Principal's Briefing
Microsoft Excel Training
HE Briefing
eStudio - Minimum Standards & Embedding in Curriculum
Research Dissemination Day
Graduate Fashion Show Meeting
Principal's Briefing
TPS Pension Briefing
HEA Consultation for Fellowship Accreditation
Research Dissemination Event
University Meets Industry
Probation Policy Training
Absence Management Training
HE Staff Development Day
Internal Progression Day
03-Jul-15
24-Jun-15
26-Jun-15
25-Jun-15
23-Jun-15
06-Mar-15
19-Dec-14
16-Dec-14
17-Dec-14
16-Dec-14
16-Oct-14
22-Sep-14
15-Sep-14
11-Sep-14
05-Sep-14
Nicola Knight
Women Fashion Power, Design Museum, London (November 2014)
Horst: Photographer of Style, V&A (November 2014)
Impossible Catwalk, Simon Costin, London College of Fashion (November 2014)
Disobedient Objects, V&A (November 2014)
Egon Schiele: The Radical Nude, The Courtauld Institute of Art, London (November 2014)
19
12. Evaluation of staffing resources.
Analemma: Fashion Photography 1992 – 2012, Viviane Sassen, The Photographers’ Gallery, London
Graduate Fashion Week, London (June 2015) – 5 day event on LCA Fashion stand and gathering market
intelligence on other national Fashion degree programmes
In-house Staff Development / CPD:Principal's Briefing
HE Briefing
eStudio - Minimum Standards & Embedding in Curriculum
Research Dissemination Day
Principal's Briefing
HEA Consultation for Fellowship Accreditation
Research Dissemination Event
HE Staff Development Day
Internal Progression Day
Qualification: MA in Fashion (Year 1 of 2)
03-Jul-15
26-Jun-15
25-Jun-15
23-Jun-15
19-Dec-14
17-Dec-14
16-Dec-14
11-Sep-14
05-Sep-14
01-Sep-14
Paul Luke
Premiere Vision, Paris (Feb. 2015) – fashion textile trade show
Graduate Fashion Week, London (June 2015) – 5 day event on LCA Fashion stand and gathering market
intelligence on other national Fashion degree programmes
Alexander McQueen: Savage Beauty, V&A, London (June 2015)
Analemma: Fashion Photography 1992 – 2012, Viviane Sassen, The Photographers’ Gallery, London
In-house Staff Development / CPD:Developing Skills in Public Speaking Workshop
eStudio - Minimum Standards & Embedding in Curriculum
Research Dissemination Day
HEA Consultation for Fellowship Accreditation
Principal's Briefing
TPS Pension Briefing
Research Dissemination Event
Presentation Skills Workshop
HE Staff Development Day
Internal Progression Day
Qualification: MA in Fashion Innovation (Year 1 of 2)
29-Jun-15
25-Jun-15
23-Jun-15
16-Jun-15
19-Dec-14
16-Dec-14
16-Dec-14
17-Nov-14
11-Sep-14
05-Sep-14
01-Sep-14
Janie Tweddle
Women Fashion Power, Design Museum, London (November 2014)
Horst: Photographer of Style, V&A (November 2014)
Impossible Catwalk, Simon Costin, London College of Fashion (November 2014)
Disobedient Objects, V&A (November 2014)
20
12. Evaluation of staffing resources.
Analemma: Fashion Photography 1992 – 2012, Viviane Sassen, The Photographers’ Gallery, London
Premiere Vision, Paris (Feb. 2015) – fashion textile trade show
Deboutonner la Mode, Musee des Arts Decoratifs, Paris (February 2015)
Fashion Mix, Musee de le Histoire d’Immigration, Paris (February 2015)
Graduate Fashion Week, London (June 2015) – 5 day event on LCA Fashion stand and gathering market
intelligence on other national Fashion degree programmes
In-house Staff Development / CPD:Principal's Briefing
HE Briefing
eStudio - Minimum Standards & Embedding in Curriculum
Principal's Briefing
Research Dissemination Event
HE Staff Development Day
HEA Consultation for Fellowship Accreditation
Internal Progression Day
03-Jul-15
26-Jun-15
25-Jun-15
19-Dec-14
16-Dec-14
11-Sep-14
09-Sep-14
05-Sep-14
12d Please attach CVs of new staff, together with a copy of the Person Specification used in recruitment
and a note of their role in the teaching team.
Please list CVs attached.
Liam Jefferies
Principal Lecturer - Communication pathway (0.6)
Appointment commenced 29thJune 2015
Specialist area - physical and digital content convergence, viewer participation and engagement, digital
promotion, multiplatform content, non-traditional interfaces (eg, wearable tech, body tracking, GPRS),
social media engagement and effective practice, platform specific design, industry positioning.
Liam was previously employed by the College as an Instructor Technician; he had also been involved in
L6 Communication student tutorials and was, as such, familiar with both the programme and the gaps in
The Communication pathway offer. Liam has been involved in the holistic curriculum planning for 15/16,
with a direct focus on differentiating, and stabilising, the Communication pathway.
Nicola Knight
Lecturer (0.4)
Specialist area – styling, buying, fashion PR, fashion design
Nicola had previously covered Maternity Leave; Suzy’s leaving created a staffing deficit; with Nicola
being a highly valued member of the team, she was promptly offered a 0.4 permanent Lecturer contract,
commencing June 2015.
13. Evaluation of student support and guidance resources including Personal Development Planning
(PDP)
Student Support
Programme teams work closely with the Student Support Team to identify students who may need
additional support. Each programme has a member of the student support team assigned to it. Student
and Academic Support staff visit each programme at the beginning of the academic year and ensure that
students are aware of what help/guidance/support is available to them and how they can access it. This
is echoed during the programme inductions at the beginning of the academic year too.
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13. Evaluation of student support and guidance resources including Personal Development Planning
(PDP)
Academic Support
Academic support is available to all students who wish to access it, not just dyslexic students or students
who identified they had barriers to learning. Additionally all students are also screened for dyslexia at the
beginning of the year and support offered to those who declare it and to those who may need further
testing.
Personal Development
Through the Personal and Professional Practice (PPP) modules on undergraduate programmes, students
are required to critically articulate and reflect upon their progress both academically and within their
specialist interest. Some programmes require students to engage in external competitions and exhibitions
and make connections with external professionals or organisations. As part of these modules, students are
required to develop an understanding of the creative industry or specialist area that they wish to enter,
including identifying key organisations, professional bodies and individuals who work in their chosen
discipline and develop a database of contacts and opportunities. The students may also develop a strategy
that includes preparing a professional portfolio to position and present themselves as practitioners within
their chosen field and a plan as to how they intend to achieve their career goals.
Outside of their programme of study, students are also provided with further opportunities within personal
development by the Partnerships and External Engagement Team, including the Life After College
Programme.
14 Evaluation of personal development planning (PDP) policy and practice
The programme’s employability activities, undertaken through PPP modules, have focussed around live
projects and competitions, visiting speakers from industry and work experience; details of this can be
found in section 10.
A review of the PPP modules can be found in Appendix 2.
CONTENT
15.1 Review of programme specification
Please state below if the Programme Specification remains unchanged.
Some things you might need to consider include:

updating the programme description and indicative reading list;

ensuring that the teaching methods, coursework requirements and assessment arrangements are clearly
and accurately stated for the academic year in question;

including minor changes arising from the monitoring process;

publicising any changes made as a result of programme evaluations.
If any changes are necessary, please note below and attach an up-to-date copy of the Programme
Specification.
In response to the implementation of a new set of OU Regulations, Level Learning Outcomes have been
developed for all undergraduate programmes and added to the Programme Specification. A statement
about the requirement to pass all learning outcomes has also been included. Otherwise the Programme
Specification remains unchanged for 2015-16.
The Module Briefs and Module Overviews will be updated to reflect planning discussions during
Curriculum Planning Day, and to ensure currency and the equipping of the relevant skillsets, in sufficient
depth. (see EAP action C)
15.2 Please list any programme amendments that you plan to put forward for OU approval during the
coming year
There will be no programme amendments during the coming year.
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ENHANCEMENT
16 Please give your plans for enhancement of the programme, including a timescale for implementation,
and noting any good practice which might be incorporated into other programmes.
As set out in this report, the programme has experienced a decreased level of student satisfaction, as
evidenced, for example, in the NSS. The new Programme Leader has worked in the department, in the
capacity of both Principal Lecturer and acting Programme Leader, since October 2013, and, as such, has
a clear and rationalised understanding of the programme’s current position, with the focus on the areas
that require improvement, areas that exist and have the potential to be enhanced, and areas that have
not yet been explored, in terms of maintaining currency and innovation within the programme delivery.
Much work has already been undertaken; however, it is likely to take 2-3 years before the success of
implemented strategies can be fully measured. The new Programme Leader delivered the vision for
programme to SMT in August 2015; the following narrative and accompanying EAP sets out the actions
and the focus for the programme team during 2015/16.
Overarching programme enhancement
External engagement has evolved considerably throughout 14/15, with some relatively high profile new
projects taking place with, for example, Alfred Brown (Worsteds), The Confucius Institute (an important
link for internationalisation), Leeds City Museum and Lambert’s Yard; all of which have potential future
opportunities. The programme has continued with projects with Urban Outfitters, Louis Vuitton, The
Hipstore and Harvey Nichols; however, as a result of team discussion around live projects, particularly in
relation to L6 and the impact these have had on portfolio development and focus on the CoP3, it has
been agreed that, during 15/16, these projects will be rationalised. Louis Vuitton is closing its Leeds
store, and it is questionable around how beneficial the Hipstore project is for L6 students, in relation to
the tangible evidence for assessment and the contribution to portfolio. Harvey Nichols and Urban
Outfitters projects should continue to be delivered to L4 and L5 students.
Throughout 15/16, new contacts and opportunities will continue to be sought, to ensure the diversity and
innovation of the programme continues to grow. The team are already confirming a Visiting Professionals
itinerary for the year, and application to the BFC College’s Council is planned for completion by
December 2015. It has been decided to withdraw subscription from the ASBCI, due to the lack of
relevant and inspirational industry engagement opportunities that have recently been offered by this
organisation and, as a result, the absence of student subscription. Instead, The Trend Boutique offer a
considerably more relevant programme of events, without the requirement to subscribe annually. Each
event is paid for individually, and can be subsidised by curriculum budget. (see EAP action H)
The continued focus on sustainability, ethics and diversity within the fashion industry through the
Responsive module has brought this to the forefront of the curriculum in raising students’ awareness of
global ethical issues and impacts, and will continue to be a focus of Responsive throughout 15/16. Some
students choose to focus their final year work, using their Responsive project work as a catalyst; as this
was the intention of Responsive, it is reassuring to observe student engagement with the drivers that are
shifting the fashion industry, globally, and thus further cementing the overarching ethos of the
programme.
A visit to IED, Milan, took place through the International department in May 2015, with the view to open
up an Erasmus partnership across their European provision (Italy and Spain). Along with Erasmus, there
are other cross-institute opportunities, to develop cross-cultural projects, student exchanges and staff
development through sharing working practices and dialogue, as IED delivers a similar Fashion
programme. LCA has links with an IED Alumnus who currently runs Leeds based Hebe Media.
The acting Programme Leader visited AMFI in October 2014; although AMFI were in the process of
rationalising their Erasmus partnerships, the visit gave an in-depth insight into how one of the best
Fashion schools in the world design and deliver their curriculum, in particular The Reality School. (see
EAP – Action I)
As a full staff team is now in place, each bringing their specific skill-set to the curriculum and thus
diversifying and adding enrichment to the existing curriculum, it is timely to differentiate the two Fashion
pathways to offer clear and distinctive pathways within the one overarching degree programme.
Prospectus and website course information would identify each of the pathway’s individual identity and,
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16 Please give your plans for enhancement of the programme, including a timescale for implementation,
and noting any good practice which might be incorporated into other programmes.
as a result may facilitate the application and recruitment process. (see EAP – Action C)
Examples of specific differentiation that will be further embedded throughout 15/16 as follows:Concepts & Communication
The validation of the BA (Hons) Fashion Photography programme has raised considerations over how
this new programme and the Fashion Communication pathway can enhance one another, and how to
ensure that there is clear distinction between the curriculum offer. The Fashion Communication pathway
delivers a film-based module in its L5 specialist New Media module; this will continue to run, although the
emphasis on film and fashion photography on the Communication pathway will become more integral,
rather than the focus. Fashion photography will not be delivered as an element of the programme; in
reality, a Fashion Communicator, in the context of our programme, would work as a creative director or
stylist, not as a photographer per se. Ensuring this focus will offer a clearer outline of the programme to
students and the skillsets that they will acquire. (see EAP – Action C)
New media is the hub for the majority of industry promotion; in order to ensure currency and parity with
the industry, students would benefit from a greater awareness of the methodologies of promoting their
concepts/products on an instant, global digital platform. Opportunities that social media and new media
offer to enhance their promotional opportunities are not only free and technically accessible, but familiar
with the student generation as they interact with these platforms socially, albeit perhaps not in the context
of utilising smart techniques and understanding how to connect with the right contacts in the right way.
This aspect of the curriculum will further differentiate the C&C pathway as being defined as
Communicating a concept or product after manufacture, as opposed to the D&R pathway whose concern
is primarily design and production. The appointment of Principal Lecturer for the Fashion Communication
pathway will drive this ethos forward throughout 15/16. (see EAP – Action C)
Design & Realisation
Menswear tailoring will continue to be the focus of the L5 Design and Realisation specialist module.
Sales of menswear is now quickly catching up with that of women, with more events being launched to
celebrate the fashion world and capitalise on the growing demand for accessible men's clothing.
The unprecedented rise of the menswear industry has transformed the way that many designers and
retailers think about menswear. We've come a long way from the days of small capsule collections for
men being tagged onto the end of a huge range for women. This dedicated menswear module responds
to this shift in the sector. This focus on tailoring and menswear was picked up, during the interview
process, as being the deciding factor for a number of applicants applying for the programme. Menswear
tailoring practice at L5 is being taken forward by some students into their L6 graduate projects, thus
making menswear more prevalent as focus of the programme, and as a career destination.
Preliminary meetings with CFE (LCF), in Leeds have centred around a graduate Incubation resource and
retail space, to be based in Leeds City Centre. This will offer opportunity to LCA Fashion graduates and
also further differentiate the two pathways, adding the design and garment production distinction to the
FD&R pathway. The CFE already offer a Pioneer Programme, through Lambert’s Yard; a mentorship
programme for start-up labels; this initiative, alongside LCA’s CiR programme offers a highly supportive
environment for graduates wanting to set up a fashion label/enterprise after graduation. The staff team
throughout L6 will encourage these opportunities. (see EAP – Action H)
A more dedicated approach to raising students’ awareness of both traditional and contemporary
fabrics/materials and knowledge of fabric compositions and behaviours and fitness for purpose will
continue to be embedded into the delivery of garment design and production modules at L4 and L5, to
equip students with a broader understanding and confidence when selecting materials for L6 graduate
collections. Increased garment production projects offer students the opportunity to work with different
types of fabrics. More emphasis on sourcing and sampling informs a more critical approach to selection
and application of fabric types.
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16 Please give your plans for enhancement of the programme, including a timescale for implementation,
and noting any good practice which might be incorporated into other programmes.
Portfolio development will be a key focus throughout the programme; sessions have been planned in for
15/16 delivery, with PPP3 focus on graduate portfolio / GFW selection. It is crucial that the portfolios are
of a high standard, due to the programme having its individual stand reinstated for June 2016, and the
potential that the scrutiny process by the GFW committee may well continue. (see EAP – Action A)
The film that was produced for the 14/15 graduate runway show will be submitted to GFW for application
to the Boutique runway show at the June 2016 event. Should the application be successful, this will impact
on the Leeds-based graduate event (previously at Canal Mills) and a decision will need to be made
regarding how all L6 student work will be showcased, particularly as both the static and runway show at
GFW are selective. (see EAP – Action A)
17 Preparation for forthcoming events or interactions with QAA and other professional or statutory bodies
Following a successful application for Taught Degree Awarding Powers in April 2014, Leeds College of
Art has been subject to scrutiny by QAA since October 2014.
18 ACTION PLAN
Please attach a forward-looking plan for future action that addresses all the issues arising from the evaluation of the
programme above. Please number the actions and indicate which of the sections above gave rise to each of them. For
each action you should identify any barriers to be addressed, propose solutions and give a timescale and who is
responsible for completion.
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