25 36 A guide to postgraduate is a world-renowned 24 arts and design college which brings 23 35 studies at Central Saint together a diverse range of practices under Martins, University of one roof. Our reputation is founded on the achievements of our graduates; our creative

34 the Arts future is forged by the inventive ambitions 21 26 of our current staff and students. 33

For over 150 years we have pioneered 27 32 radical innovation in the arts, design, fashion and performance. 17 20 WE HAVE NINE PROGRAMMES 22 31 OF STUDY:

30 Access and Progression 19 to Higher Education 29 18 28 Art Culture and Enterprise Fashion Graphic Communication Design 27. Lucia Lanzalaco Jewellery, Textiles and Materials BA Architecture Performance Photo © Jasper Goodall Product, Ceramic and Industrial 28. Monika Kühne-Jørgensen Design MERVE KASRAT MA Fine Art ‘Out from Order’ Spatial Practices Photo © Jasper Goodall MA Design (Ceramics) 29. Luisa Filby We are part of University of the Arts This project combines two recognisable BA Product Design London – Europe’s largest creative typologies: the ancient amphora vase and Photo © Jasper Goodall university, which was ranked in the the human form as a vessel. The collection 30. Matthew Duan top five for art and design in the 2016 aims to subversively disrupt our patterns BA Fine Art QS World University Rankings. of thought, using ceramics to challenge Photo © Jasper Goodall assumptions. The pieces were made in 31. Jessica Duggan collaboration with potters from Menemen, BA Graphic located in the Aegean region of Turkey, Communication Design using the local red clay. Photo © Jasper Goodall 32. Francesca Monticelli BA Fine Art Photo © Jasper Goodall 33. Anlan Chen MA Industrial Design Photo © Jasper Goodall 34. Maggie Campbell BA Performance: Design and Practice Photo © Jasper Goodall 35. Inessa Kovalova MA Design (Jewellery) Photo © Jasper Goodall 36. Mia Paatelainen BA Fine Art Photo © Jasper Goodall 37. Troy Rosewell BA Fine Art Photo © Jasper Goodall Cover background Image Photo © Elaine Perks Digital Artwork Jasper Goodall 16 25 36 Central Saint Martins is a world-renowned 6 A guide to postgraduate 24 arts and design college which brings 23 35 studies at Central Saint together a diverse range of practices under one roof. Our reputation is founded on the 2 7 Martins, University of 5 achievements of our graduates; our creative 37 14 34 the Arts London future is forged by the inventive ambitions 21 26 15 of our current staff and students. 33

For over 150 years we have pioneered 27 32 radical innovation in the arts, design, fashion and performance. 9 17 20 3 11 WE HAVE NINE PROGRAMMES 8 OF STUDY: 10 22 31 30 Access and Progression 19 to Higher Education 13 29 28 Art 4 12 18 1 Culture and Enterprise Fashion Graphic Communication Design COVER IMAGE 14. Daisy Woolley 27. Lucia Lanzalaco Jewellery, Textiles and Materials BA Fine Art BA Architecture Performance 1. Anaïs Comer Photo © Elaine Perks Photo © Jasper Goodall BA Fine Art Product, Ceramic and Industrial 15. Kevin Carrington Photo © Elaine Perks 28. Monika Kühne-Jørgensen Design MERVE KASRAT BA Fashion Design MA Fine Art ‘Out from Order’ 2. Bobby Chen Spatial Practices with Marketing Photo © Jasper Goodall MA Design (Ceramics) BA Graphic Photo © catwalking.com 29. Luisa Filby Communication Design We are part of University of the Arts This project combines two recognisable 16. Lois Bentley BA Product Design Photo © Jasper Goodall London – Europe’s largest creative typologies: the ancient amphora vase and MA Art and Science Photo © Jasper Goodall 3. Jan Chan Photo © Jasper Goodall university, which was ranked in the the human form as a vessel. The collection MA Fine Art 30. Matthew Duan top five for art and design in the 2016 aims to subversively disrupt our patterns 17. Fredrik Tjærandsen Photo © Elaine Perks BA Fine Art QS World University Rankings. of thought, using ceramics to challenge BA Fashion Design Photo © Jasper Goodall assumptions. The pieces were made in 4. Zhu Wang Womenswear 31. Jessica Duggan BA Product Design Photo © catwalking.com collaboration with potters from Menemen, Photo © Elaine Perks BA Graphic located in the Aegean region of Turkey, 18. Zijie Lin Communication Design using the local red clay. 5. Louise Mok MA Industrial Design Photo © Jasper Goodall BA Textile Design Photo © Jasper Goodall Photo © Jasper Goodall 32. Francesca Monticelli 19. Emily Brown and BA Fine Art 6. Ornella Pacchioni Bella Yurtsever Photo © Jasper Goodall BA Fine Art BA Architecture 33. Anlan Chen Photo © Elaine Perks Photo © Jasper Goodall MA Industrial Design 7. Fajrur Rahmat 20. Madeline Hall Photo © Jasper Goodall MA Graphic BA Ceramic Design 34. Maggie Campbell Communication Design Photo © Madeline Hall Photo © Jasper Goodall BA Performance: Design 21. Benjamin Benmoyal and Practice 8. Jacobo Prieto Gomez BA Fashion Design Photo © Jasper Goodall MA Industrial Design with Marketing 35. Inessa Kovalova Photo © Elaine Perks Photo © catwalking.com MA Design (Jewellery) 9. Kritapat Pornipipatpaisan 22. Giovanni Generali Photo © Jasper Goodall BA Product Design BA Fine Art 36. Mia Paatelainen Photo © Jasper Goodall Photo © John Sturrock BA Fine Art 10. Sara Gulamali 23. Dian Chen Photo © Jasper Goodall BA Fine Art MA Design (Jewellery) 37. Troy Rosewell Photo © Sara Gulamali Photo © Jasper Goodall BA Fine Art 11. Merve Kasrat 24. Katherine Plumb Photo © Jasper Goodall MA Design (Ceramics) BA Fine Art Cover background Image Photo © Jasper Goodall Photo © Elaine Perks Photo © Elaine Perks 12. Ingrid Rautemberg 25. Sabrina Mumtaz Hasan Digital Artwork MA Material Futures MA Art and Science Jasper Goodall Photo © Elaine Perks Photo © Elaine Perks 13. Leanne Vieira Commins 26. Rory Peacock BA Ceramic Design BA Fine Art Photo © John Sturrock Photo © Elaine Perks ELISSA BRUNATO plastic, yet it is compostable. compostable. is it yet plastic, lightweight and as strong as colours. The material remains create shimmering structural naturally abundant materials to that are capable of harnessing Sequin’ uses bio-technologies of innovation. ‘Bio Iridescent material options and a lack limited by unsustainable embroidery is industry the system, textiles and Within the current fashion ‘Bio Iridescent Sequin’ MA Material Futures

generate real, productive change. we believe that and design can arts making and doing. We do all this because them to discover new ways of thinking, and disturb accepted norms. We support formations and might provokeideas which our students the confidence to unearth unexpected outcomes. We aspire to give exchange across to boundaries create disciplines,our encouraging collision and and risk-taking. We question the cores of power of imagination, curiosity, ambition programmes of study we the champion questions. nineAcross our difficult for breaking new ground and asking all, extraordinary people. We are known and, of most ideas things, extraordinary the world for discovering extraordinary Central Saint is known Martins throughout

of the female form. female the of Plumb offers an alternative gendered representations, apparatus to resist traditional, an as body own their Using dismissing the audience. to socially engage while and stand-up live performance, installation, Plumb uses video performance, ‘Untitled’ BA BA KATHERINE PLUMB Fine Art Fine

2 • 3 OUR ALUMNI WE ARE Campbell Addy Jonathan Barnbrook CENTRAL SAINT MARTINS Sarah Burton Hussein Chalayan Gemma Chan Gwendoline Christie An institution is only as good as the Emilia Clarke Jarvis Cocker people within it and nowhere is this truer Sir Peter Doig than Central Saint Martins. Our personality comprises an ever-changing Theo Fennell network of cultures, backgrounds and Gilbert & George Craig Green experiences. Our students – past and Katharine Hamnett present – position and direct us. Our Mona Hatoum John Hurt alumni have helped shape the world. Charles Jeffrey Central Saint Martins has over a century Dylan Jones Kim Jones of pioneering practice in its history and Stephen Jones Fernando Jorge we proudly encourage our students to Joseph Joseph Jean Jullien continue this tradition of provocation. Ib Kamara Christopher Kane At the centre of our community, students Reiko Kaneko are empowered by our world-class Mary Katrantzou Afroditi Krassa teaching, technical and support staff and Percy Lau Cathy Lomax by the research, knowledge and creations Richard Long Helen Marten that staff produce. Hannah Martin Stella McCartney Alexander McQueen M.I.A. Bill Moggridge Carol Morley Morag Myerscough Rungano Nyoni Sir Eduardo Paolozzi Phoebe Philo Platon PriestmanGoode Laure Prouvost Sade Gerald Scarfe MONIKA KÜHNE-JØRGENSEN Raqib Shaw MA Fine Art Yinka Shonibare ‘Viewing Station’ Riccardo Tisci The items of furniture in this Grace Wales Bonner installation reference the riddles Wallace Sewell we present through our interior design choices and the objects we choose to display. Initially, Kühne-Jørgensen’s objects seem uniform and organised. However, the furniture is fitted with ‘cinema boxes’ which each display a short film – revealing a more organic and 5 •

chaotic interior. 4 Materials and Products Collection making processes. to close always are you so distributed around the building, are Workshops exchange. and encouragefurther interaction zone, learning and gallery library, a including spaces, working curiosity. The design of our other of constant stimulation and asource as other to each visible all – space magnificent open, one around centred all are bar a and acanteen halls, lecture spaces, performance workshops, and collaborations. Studios, together, allowing for collisions brings diverse disciplines Our King’s Cross building CENTRAL SAINTCENTRAL MARTINS INSIDE Central Loan Store Loan Central

Textiles print and dye studio studio dye and print Textiles Print studio Library, group zone group Library,

MA Fine Art studios, Archway studios, Art Fine MA Wood workshop Canteen Casting workshop Grow Lab Grow GROW LAB Store Loan Central STORE LOAN CENTRAL &Textiles Fashion Digital Media Large 3D ARCHWAY Capture Lab Video and Film Photography LENS Theatre Assembly Studio Theatre Platform Theatre Costume Labs White and Black PERFORMANCE Weave Knit Fashion FASHION and Animation CAD, 3D Modelling Projects Advanced Digital Digital Media DIGITAL Ceramics Jewellery Paint/Surface Casting MATERIALS General and Plastics Metal (First Floor) Wood (First Floor) Bureau Digital Fabrication Floor) (Ground Metal Floor) (Ground Wood MAKE Dye and Print Lab Design Surface Digital and Hybrid Print Printmaking Letterpress PRINT Users. Additional and Core of asystem on based is workshops to access experimentation. Student making and through learn to students for place a providing vital, are Central Saint Martins The workshops at

6 • 7 postgraduate students to on go dictate forms of practice thinking. and Our making, leading students to innovative developed engagement with and ideas our discipline areas. allow These for a of taught postgraduate courses across Central Saint abroad offers Martins range was possible. your work well beyond what you thought to initiative use opportunity push and all about being challenged an –it offers students. Here, postgraduate is study and has over 2,200 postgraduate-level postgraduate community design and arts UAL is host to Europe’s largest creative industries. the agenda for intellectual debate and the (M ARCH, MBA and MA, MRes) TAUGHT COURSES POSTGRADUATE their own interests and agendas, always informed by informed always agendas, and interests own their experiments are conducted in an atmosphere where where atmosphere an in conducted are experiments over the world to our end of year shows to see what what see to shows year of end our to world the over The results are astounding – people come from all all from come –people astounding are results The postgraduate students are encouraged to pursue directions our postgraduate students are taking, taking, are students postgraduate our directions a strong research base which makes evident the the evident makes which base research a strong disciplines overlap and talk to each other, so the the so other, each to talk and overlap disciplines because in all likelihood, they are the directions directions the are they likelihood, all in because future often manifests as hybrid and surprising. surprising. and hybrid as manifests often future ‘Postgraduate study at Central Saint Martins is where new futures are imagined and made. Our Our made. and imagined are futures new where journey from concept to materialisation. These Jeremy Till, Head of Central Saint Martins our various disciplines will all be heading in the future.’ the in

is damaging our own surroundings. consume with the knowledge that it but persistent capability to cycles, highlighting our strange, our own perpetual, behavioural to attention draws playfully work their environmental impact. Her growing, collective anxiety about the to juxtaposition in satisfaction actions which offer immediate examineconstructions our daily Bonato’s crafted meticulously ‘Same time, tomorrow’ (detail) Art Fine MA SOFIA BONATO

MA Narrative Environments Aga Szypicyn MA Material Futures Manuel Thiessart MA Fine Art Fine MA 2019 Show Degree MA Material Futures Interim Show

8 • 9 DEGREES RESEARCH resources, reports. and books, articles patents, catalogues, exhibitions, digital many forms including artefacts, designs, fields.The results of our research take is by led academics renowned in their the future of both and practice theory and and support. research Our work shapes supervision their work, alongside expert We give our candidates time and space for and makers.performers generations of artists, theorists, designers, environment which nurtures successive real-world significance, we providean as the generation of new knowledge with MPhil. Guided by the principle of research research degrees leading to aPhD or both theoretical practice-based and courses at Central Saint Martins, we offer postgraduate our Alongside taught Research Excellence Framework. internationally excellent, following the 2014 research graded world-leading either as or research universities, with 83% of our UAL is ranked among the UK’s top 30 (PhD MPhil) and

‘Biolace’, Carole Collet ‘Colour Ceramic City’ Maria Gasparian ‘The Trouble with Value’ with Trouble ‘The Sława Harasymowicz Sława ‘Untitled’ Harasymowicz, and M ARCH: Architecture students Estate Cross King’s from workers In with maintenance collaboration ‘Disappearing Garden Project 2018’ Adriana Cobo that I studied at Central Saint Martins Martins Saint Central at Istudied that is immeasurable. I absolutely mean it when I say that my supervisory team team supervisory my that Isay when have changed my life (for the better). the (for life my changed have ‘The pride I have in being able to say say to able being in Ihave pride ‘The supportive team and I count myself myself Icount and team supportive very lucky to have found them and and them found have to lucky very I couldn’t have asked for a more amore for asked have I couldn’t Dean Kelland, PhD Fine Art Fine PhD Kelland, Dean to have had this experience at Saint Martins.’ Central

10 • 11 POSTGRADUATE COURSES

We offer the following postgraduate taught courses:

ART MA Art and Science MA Contemporary Photography; Practices and Philosophies MA Fine Art MRes Art: Exhibition Studies MRes Art: Moving Image MRes Art: Theory and Philosophy

CULTURE AND ENTERPRISE MA Arts and Cultural Enterprise MA Applied Imagination in the Creative Industries MA Culture, Criticism and Curation MA Innovation Management Master of Business Administration

FASHION Graduate Diploma in Fashion MA Fashion MA Fashion Communication

GRAPHIC COMMUNICATION DESIGN MA Graphic Communication Design

JEWELLERY, TEXTILES AND MATERIALS MA Biodesign MA Material Futures

PERFORMANCE MA Acting MA Character Animation MA Dramatic Writing MA Performance Design and Practice MA Screen: Acting MA Screen: Directing

PRODUCT, CERAMIC AND INDUSTRIAL DESIGN MA Industrial Design MA Design (Ceramics); MA Design (Furniture); MA Design (Jewellery)

SPATIAL PRACTICES M ARCH: Architecture MA Cities MA Narrative Environments

MORE DETAILS ONLINE visit arts.ac.uk/csm

CSM Postgraduate Courses 13 • 12 Artists create the cultural The Art programme consists resources of our shared future. of the following courses: MA MA On the Art programme, we recognise the breadth and diversity POSTGRADUATE COURSES ART AND CONTEMPORARY of social, political, cultural, MA Art and Science economic and technological MA Contemporary Photography; SCIENCE PHOTOGRAPHY; contexts of contemporary art. Practices and Philosophies We encourage a wide range of MA Fine Art Two years extended full-time PRACTICES AND experimental outputs, bringing MRes Art: Exhibition Studies This pioneering course investigates the together and merging modes of MRes Art: Moving Image creative relationships between art and PHILOSOPHIES practice, display and research. MRes Art: Theory and Philosophy science and how to communicate them. Two years extended full-time UNDERGRADUATE COURSES BA (Hons) Fine Art On MA Art and Science, you will explore ways MA Contemporary Photography; Practices to understand, represent and reinterpret the and Philosophies is a fine art photography world. You will question how the measurable course which merges research with practice. can be defined; the invisible envisaged; the senses extended; and perceptions tested. This course is rooted in the idea that The course structure allows you to investigate photography has no self-limiting identity or Anamarija Podrebarac the contemporary and historical context of essence. Rather than committing to one notion MA Contemporary Photography; of what photography is, it aims to provide you Practices and Philosophies art and science. It embraces the spectrum of interaction, endeavour and the making of with the tools to locate your own practice within forms. You will explore how research and a broad range of contemporary art forms. production can have implications for discovery On this course, you will nurture your practice and invention across disciplinary fields. The by working across a number of disciplines, curriculum encompasses reflective practice, including performance, installation, new media, contextual awareness, practical processes, fashion and site-specific work. You will explore research, analysis and debate. As part of the philosophy of the visual image as a melting your studies, you will be encouraged to pot of political, aesthetic and social concepts. collaborate with artists, scientists and Creating visually exciting and intellectually professional institutions. compelling work, you will develop as an artist with photography at the core of your practice. Jylle Navarro MA Art and Science 15

Marylyn Molisso Lois Bentley Ana Luiza Rodrigues, MA Contemporary •

MA Fine Art MA Art and Science Photography; Practices and Philosophies 14 FINE ART FINE MA practices, but in creating new positions. new creating in but practices, their expanding in just not to change, open are us with study who Artists media. and ideas for ground atesting is context this in Art-making negotiated. are viewpoints artistic and cultural anoffers environment where complex social, course The installation. and print sculpture, painting, as well as digital, and time-based including media many in work students Our your as individuals. changing needs to responsively We work skills. and experience your to extend seek actively strategies teaching research-based Our practices. of experimental range abroad supports Art Fine MA practice? your in stake at is What concerns? cultural and social wider with engage work your does How today. artist an as to practice means it what address critically will you Art, Fine MA On Two years extended full-time MA Fine Art Fine MA Christopher Pearson

MA Fine Art Art Fine MA Anni Kruus Art Fine MA Mita Vaghela MA Fine Art Fine MA Saroj Patel

16 • 17 MRES ART MRES ART: MRES ART: MRES ART: Two years extended full-time EXHIBITION MOVING IMAGE THEORY AND MRes Art uses research and writing to Two years extended full-time develop modes of questioning, speculative STUDIES PHILOSOPHY MRes Art: Moving Image explores the rich thinking and critical evaluation. Drawing Two years extended full-time Two years extended full-time upon a wealth of scholarly expertise histories, theories and aesthetics that have MRes Art: Exhibition Studies examines the MRes Art: Theory and Philosophy promotes from the staff team, visiting lecturers and led artists to turn to film and video. From history of contemporary art through key dialogue between practitioners and theorists practitioners, the course considers the early pioneers of the twentieth century to developments in the exhibition form. The about art discourse today. Suited to artists relationship of contemporary art research contemporary moving image media, this pathway draws on the pioneering ‘Exhibition and writers, this pathway explores art and to wider aesthetic, cultural and pathway investigates the intersections of film, Histories’ publication series produced by the philosophy of art from a contemporary socio-political issues. video and disciplines including photography, ‘Afterall’. You will be encouraged to think of painting, performance, poetry and literature. perspective, embracing major ideas and MRES ART IS MADE UP OF THREE the exhibition as an entry point to the study of debates of the past and present. SPECIALIST PATHWAYS: contemporary art. You will consider not only the Taught in close association with LUX, Moving This pathway has a uniquely informed dynamic selection of art, the handling of time and space Image focuses on the theoretical and historical Exhibition Studies of teaching and group dialogue. This is assisted and modes of address, but also wider social study of artists’ moving image. Closely tied by the staff team’s research practice which is Moving Image implications of the ‘being in public’ of artworks. to the British Artists’ Film and Video Study Collection at Central Saint Martins, the pathway engaged in the areas of both art and philosophy. Theory and Philosophy Exhibition Studies asks two core questions: represents one of the leading centres for moving The theories that the curriculum draws upon are can we tell a different story of modern and image scholarship. The curriculum includes at the forefront of thinking today. These include contemporary art through its exhibitions? And, gallery visits, artist events, festivals, screenings continental philosophy, the Marxist intellectual what do the histories of exhibitions tell us about and talks from visiting experts. You will engage tradition and phenomenology. The purpose of the wider cultural field in which artworks are with the urgent debates arising from current this pathway is to enhance your thinking, writing produced and made public? research in dialogue with historical precedents and, if relevant, art practice in light of ongoing and contemporary discourse. transformations in philosophy, theory and knowledge.

‘The MRes Art course has a unique identity which benefits from the energy of working in a dynamic art college. Students appreciate that the course challenges their ideas thereby enhancing their creative, conceptual and professional development.’ 19 Christopher Kul-Want, Clara Boulard Catherine Yass •

MRes Art, Course Leader ‘Afterall’ journal MRes Art: Moving Image MRes Art: Theory and Philosophy 18 From writers and curators The Culture and Enterprise programme to creative practitioners consists of the following courses: MA MA APPLIED and entrepreneurs, we explore the contexts and functions of POSTGRADUATE COURSES ARTS AND IMAGINATION culture. We engage with critical, MA Arts and Cultural Enterprise theoretical and historical MA Applied Imagination in the CULTURAL IN THE CREATIVE discourses related to creative Creative Industries practice, innovative management MA Culture, Criticism and Curation ENTERPRISE INDUSTRIES and enterprise. MA Innovation Management Master of Business Administration Two years part-time or flexible mode One year full-time or two years part-time over a period of up to five years UNDERGRADUATE COURSES This course will teach you how to realise your BA (Hons) Culture, Criticism This course teaches you to produce ideas for ideas in the creative industries. and Curation original arts and cultural events and provide leadership for the teams that realise them. MA Applied Imagination in the Creative Alongside critical and creative thinking, you Industries will help you become a problem- will acquire business skills which are highly finder and change-maker. You will apply your attractive to potential employers. You will learn imagination and question existing assumptions how to manage creativity, but also how to bring in the creative disciplines. The course will creativity to management. encourage you to use research as a creative tool, with the goal of asking better questions. It is aimed at graduates with some work Rather than discipline-related skills and experience who wish to challenge themselves processes, it focuses on developing student- by developing innovative approaches to arts specific interventions, which can be tested and management and cultural production. Two developed through real-world applications. study routes are available: a two-year part-time option and a flexible learning option which can The course foregrounds iterative testing, be completed over the course of five years. Both entrepreneurship and stakeholder engagement. routes are low-residency and combine online It also adopts a critical stance towards learning and intensive face-to-face sessions. cultural, economic, social and political inquiry, using discourses taken from a wide range of disciplines including anthropology, critical theory, management theory, social enterprise, performance and technology among others.

‘MA Arts and Cultural Enterprise is built on a foundation of peer-to-peer learning. Due to the part-time, blended model of the course students often work professionally alongside studying. This provides a rich opportunity for members of the cohort to share current working practices and experiences as well as take their learning outcomes from the course back in to their working environment.’ 21 Andrew Marsh, MA Arts and Cultural •

‘Revisiting Women and Work’, MA Culture, Criticism and Curation Enterprise, Course Leader MA Applied Imagination Festival 20 MA CULTURE, MA INNOVATION MASTER OF CRITICISM AND MANAGEMENT BUSINESS CURATION Two years extended full-time ADMINISTRATION One year full-time MA Innovation Management is a practice- 18 months part-time based course in which you will learn how to Through critical writing and curating, MA enable innovation within a variety of different What happens when you mix an arts school Culture, Criticism and Curation provides a contexts, such as creative, business or cultural with a business school? framework for engaging with historical and organisations. The Central Saint Martins Birkbeck MBA is contemporary culture. Through learning which blends theory and a different kind of MBA that places creative This course will teach you how to become an practice, you will develop the skills to operate in approaches and social engagement at the heart innovative practitioner and researcher, with the complex working environments. This course is of future leadership. The course challenges skills to communicate to specialist and general one of the first to locate innovation management the orthodox business school approach audiences alike. MA Culture, Criticism and in an arts and design college. Innovation to education. Instead, it focuses on cross- Curation works with two distinctive approaches: management is a well-known field in business disciplinary collaboration. You will become it examines culture as a broad field, while and management studies. Traditionally, it a new type of business graduate: one who treating intellectual and practical work as a addresses how processes – especially those can combine creative thinking and innovation INDIRA BÉRAUD, AVRIL BROWN, form of joined-up enquiry. The course aims to dealing with the production of new goods or with core financial and strategic management MIA CORMACK, ROSA DROOGERS, make research accessible to new and larger services – can be measured, promoted and skills. We train future leaders with compassion, RHIANNON EDWARDS AND audiences, removing it from a solely academic used to an organisation’s advantage. This resilience and the ability to adapt to an BEA REDWEIK environment. Taking advantage of its location in course considers innovation management increasingly complex world. MA Culture, Criticism and Curation an , the course integrates theoretical more broadly, across a wider range of concerns For this MBA, Central Saint Martins has entered ‘Hair Matters’ issues and practical skills. It interrogates history including the social, the sustainable, the cultural into a high-level collaborative partnership For their final projects, our graduating and considers how new knowledge is presented and the creative. with Birkbeck, University of London. Birkbeck MA Culture, Criticism and Curation in the public realm. students present a publication and is ranked amongst the top universities in a series of exhibitions and events the world. in partnership with international and national organisations, artists, designers and writers. Curated by a team of six students, the ‘Hair Matters’ exhibition took place in various locations around Dalston in November 2018. It examined the social and cultural symbolism of hair in the twenty-first century. Featuring the work of six artists, the public interventions included photo manipulations, work with textiles, collage material, graphic design, ephemera and audio material.

‘We get the experience of people who have been working in the real world and also in academia. The course is challenging but it is a challenge worth undertaking. I think it would be great for anyone who is curious about how business works in the twenty-first century and can continue to change and adapt. How do we as business leaders in the next generation not just manage those changes but do business better?’ 23 Susan Adams graduated from Master •

‘Hair Matters’, MA Culture, Criticism and Curation ‘Hair Matters’, MA Culture, Criticism and Curation MA Innovation Management journal of Business Administration in 2019. 22 We engage with fashion at its The Fashion programme consists most creative and question every of the following courses: GRADUATE MA process from research to design and manufacture. We have a long, POSTGRADUATE COURSES DIPLOMA IN FASHION established history of producing Graduate Diploma in Fashion some of the fashion industry’s MA Fashion FASHION 18 months full-time greatest talents. MA Fashion Communication One year full-time MA Fashion has an international profile second UNDERGRADUATE COURSES to none. With extensive industry links, its The Graduate Diploma in Fashion prepares BA (Hons) Fashion graduates practice at the forefront of fashion. BA (Hons) Fashion Communication designers for the next stage of their careers. The course develops your imagination and Specialising in Womenswear or Menswear, creative identity. It will broaden and deepen you will leave the course with a portfolio and your existing expertise, providing you with the realised design work to support future study experience, sophistication and confidence to or entry into employment. The course offers practice professionally at the forefront of the fashion graduates, or those from closely related international fashion industry. disciplines, the opportunity to take a fresh look The course is delivered by a team of practising at their work. designers and exceptional technical staff. The course will support your creative With an ethos of guided experimentation, you development with design, technical and will explore your individual style while being professional skills. Studies on the course are challenged to innovate to the highest standards. project-based, allowing you to experiment and YOU WILL STUDY ON ONE OF FOUR redefine yourself in a creative environment. INTERRELATED PATHWAYS: Through its tutorial structure, the course Backstage, MA Fashion Show 2019 emphasises breadth and depth of research Knitwear for Fashion and an innovative approach to design. The curriculum will also introduce you to visual Menswear communication approaches, the articulation Textiles for Fashion of design ideas and the development of presentation skills. Womenswear

‘MA Fashion provides students with unique learning opportunities which Backstage, MA Fashion Show 2019 empower them to reach their full potential as creative individuals who are informed, critical and have strong views on the world and their industry.’ 25 Constance Blackaller Zlata Belokobylskaia Fabio Piras, •

MA Fashion Graduate Diploma in Fashion MA Fashion, Course Leader 24 MA FASHION: MA FASHION: MA FASHION: MA FASHION: KNITWEAR MENSWEAR TEX TILES WOMENSWEAR FOR FASHION 18 months full-time FOR FASHION 18 months full-time The Menswear pathway is for students who On the Womenswear pathway, you will refine 18 months full-time 18 months full-time wish to take their knowledge and expertise in your knowledge and exercise your critical point This pathway will challenge your specialist contemporary menswear to a new level. We will On this pathway, you will use your skills in of view. We will encourage you to develop knowledge in creating knitted textiles and support you in developing your fashion design textile design to refine your awareness of alternative and personal approaches to your support you in applying your expertise to skills and abilities to professional standards. contemporary fashion. You will be encouraged work. We will challenge you to question fashion design. We will challenge you to As you engage with project work, we will to investigate a wide range of materials to conventions and investigate new ways of experiment and extend your creative skills encourage you to challenge conventions, challenge the potential of your ideas and thinking about your practice. We will support in both handcraft techniques and machine search for new alternatives and personal ways adopted techniques. Engaging in creative you in applying your expertise to all aspects technology. While taking an individual approach to think through practice. Recent graduate experimentation, you will aim for innovative of fashion design and elevating your abilities to your processes in developing innovative destinations include Balenciaga, Bottega outcomes and broaden your individual to professional standards. Recent graduate and artistic work, you will focus on refining an Veneta and Louis Vuitton. Others, such as approach to professional practice. Recent destinations include Alexander McQueen, informed professional point of view. Recent Charles Jeffrey have gone on to launch their graduate destinations include Burberry, Dries Loewe and Marni. Others, including Simone graduate destinations include JW Anderson, own label. Van Noten and Gucci. Others, including Richard Rocha, have gone on to launch their own label. Maison Margiela and Louis Vuitton. Others, Quinn, have gone on to launch their own label. such as Matty Bovan, have gone on to launch their own label. 27 Christina Seewald Marvin Desroc Goom Heo Zuzanna Szarlata •

MA Fashion MA Fashion MA Fashion MA Fashion 26 Sheryn Akiki,Sheryn MA Fashion Gerrit Jacob, MA Fashion

20 • 29 MA FASHION MA FASHION COMMUNICATION: MA FASHION COMMUNICATION: MA FASHION COMMUNICATION: COMMUNICATION FASHION FASHION FASHION One year full-time CRITICAL STUDIES IMAGE JOURNALISM Over the last two decades, fashion has One year full-time One year full-time One year full-time broadened its influence across the creative industries and many art forms. In parallel, new The Fashion Critical Studies pathway offers an Fashion Image is for innovative photographers, Fashion Journalism is for writers and editors technologies have transformed how the fashion academic approach to the study of fashion. stylists, illustrators, film-makers, set designers who want to shape the future of their field. sector communicates with consumers. With It develops your research skills, allowing and art directors. This pathway examines new It offers the opportunity to focus on fashion the industry in this state of transition, it’s more you to contribute to the development of the digital platforms, such as interactive magazine writing for different media and markets. You important than ever to analyse the impact field and debates in other disciplines. The design and the ever-changing landscape of will explore writing for traditional magazines of new media and to explore the needs of pathway investigates the cultural and historical mobile technology. You will explore fundamental and newspapers, alongside digital publishing new consumers. significance of fashion. You will explore fashion issues such as authorship and how the industry including blogs, websites, e-commerce and as an object, image, text and practice through uses social media channels. social media. MA Fashion Communication at Central Saint disciplines including art, history, sociology, Martins embodies these paradigm changes. literature, politics and anthropology. It explores the discipline through new, cutting-edge digital platforms and media as well as more traditional modes of communication. The course helps you to develop the professional skills to join the next generation of fashion theorists, analysts, writers, journalists, image-makers and visual communicators.

THE COURSE OFFERS THREE PATHWAYS: Fashion Critical Studies Fashion Image Fashion Journalism While much of your time and teaching is concentrated on your pathway study, there are opportunities to work with your colleagues from ‘Fashion communication is changing other pathways and courses. This structure and we want to be driving that change. reflects the collaborative approach of the In the finest Central Saint Martins fashion industry. Across all pathways, the tradition, we aim to stretch our curriculum focuses both on the realities of the students creatively and challenge them to move to the next level.’ modern fashion industry as well as fashion theory, ensuring your work is informed by Roger Tredre, Course Leader, current knowledge and debates in your MA Fashion Communication specialist area. 31

Gary Bradnick Serena Aureli Sun Fanding •

MA Fashion Communication MA Fashion Communication MA Fashion Communication 30 Alannah Eileen Cooper MA Fashion Communication

Balint Barna MA Fashion Communication

Alannah Eileen Cooper MA Fashion Communication

ALANNAH EILEEN COOPER MA Fashion Communication ‘Hildaland’ Alannah Eileen Cooper, who grew up in the Orkney Islands, graduated from the Fashion Image pathway of MA Fashion Communication in 2018. Her work so far has focused on the everyday life of craftsmanship, the accessibility of creativity and the sustainability of fashion. She was Jac Chung awarded the New Fashion Image Prize MA Fashion Communication at Central Saint Martins in 2018. We combine the traditions of The Graphic Communication graphic design with a critical Design programme consists MA GRAPHIC and creative approach to of the following courses: communication. Working in a COMMUNICATION ‘Our graduates take up posts in design POSTGRADUATE COURSES dynamic and ever-changing studios, government, as corporate creative MA Graphic Communication Design discipline, we rely upon the DESIGN leaders and as lecturers as well as exchange and debate with students progressing on to PhD study. Recent alumni UNDERGRADUATE COURSES Two years extended full-time to open up new territories and have worked in roles ranging from the art BA (Hons) Graphic Communication Design areas for exploration. We believe MA Graphic Communication Design brings department on Wes Anderson’s “Isle of that graphic communication critical depth and rigour to an increasingly noisy Dogs” to designing interactive services for design has a value far beyond its and disorienting visual landscape. Transport for London and designing money commercial application and we for the Chinese mint.’ aim to inform not only the direction The course intervenes meaningfully in a world the industry takes, but also the Rebecca Ross, MA Graphic future of the discipline itself. continuously reconfigured by its modes of Communication Design, Course Leader communication and knowledge production. MA Graphic Communication Design pursues a direct and in-depth connection between the applied arts tradition of graphic design and a critical and creative approach to communication. As a subject of study, graphic communication design cultivates a considered stance towards visual and other media. This stance is activated as an approach to challenging and reconfiguring culture. The goal of this course is to engage the tools of graphic design in experimentation with the basic forms by which knowledge is constituted and mobilised.

Hannah Kelly MA Graphic Communication Design

Ana Rita Otsuka MA Graphic Communication Design 35 Fajrur Rahmat Xinrong Xu •

MA Graphic Communication Design MA Graphic Communication Design 34 Letterpress workshop Letterpress

36 • 37 We find use, meaning and The Jewellery, Textiles and enjoyment through material Materials programme consists MA MA investigation and innovation. of the following courses: Our courses rely upon an BIODESIGN MATERIAL FUTURES understanding of traditional POSTGRADUATE COURSES Two years extended full-time Two years extended full-time and digital techniques and MA Biodesign processes in combination with MA Material Futures MA Biodesign explores bio-informed design Material Futures is where science, technology independent, thorough research strategies as a driver for sustainable innovation. and design collide. and critical thinking. UNDERGRADUATE COURSES BA (Hons) Jewellery Design The course incorporates the inherent life- We not only imagine a better future, but aim BA (Hons) Textile Design conducive principles of biological living to actively change it today. Through trans- systems into the design process. You will disciplinary practice and collaboration, you articulate alternative and new innovative design will explore how we will live in the future. By propositions for the emerging bio-circular working with experts, taking risks and blurring economy. Through this work, you will redefine the boundaries between design, science the use of energy, water, air, waste and materials. and technology, you will look beyond existing disciplines, anticipating the future needs, The course will introduce designers from desires and challenges that we face in the multidisciplinary design backgrounds to whole twenty-first century. Mäel Hénaff system thinking, biomimicry principles, biological MA Material Futures systems, bio-computational design, digital We believe that only by observing and analysing and bio-fabrication techniques. You will apply how we live today we can begin to explore how these principles to designing new sustainable we might occupy tomorrow. We will encourage materials, products, services, systems and you to combine social, scientific, political, architectural propositions. There is a strong environmental, ecological and economic emphasis on ethical issues and on learning inquiry. These insights will help inform future through making. Theoretical, global cultural and design scenarios, material propositions and socio-environmental contexts will inform the research-led speculations. development of your personal biodesign agenda.

CHARLOTTE KIDGER MA Material Futures ‘Industrial Craft’ ‘Industrial Craft’ is a reaction to the prolific amounts of plastic we send to be buried, burnt or thrown into the ocean every year. During this project, Kidger became designer in residence on a local industrial estate. During this residency, shocked by the sheer volume of plastic pollution, she created new systems, materials and techniques that

allowed her to repurpose and 39 reutilise this waste as a brand- Students in Grow Lab Mi Zhou •

new raw material. MA Biodesign MA Material Futures 38 Degree Show 2019 MA Material Futures What does it mean to make The Performance programme performance today? Theatre consists of the following courses: MA MA and performance are unifying agents in our society – political POSTGRADUATE COURSES ACTING CHARACTER and public acts to explore our MA Acting One year full-time world. Performance is not just MA Character Animation ANIMATION about representation, it allows for MA Dramatic Writing A Drama Centre course at Central Saint Martins, MA Performance Design and Practice Two years extended full-time a multiplicity of voices to coexist MA Acting focuses on the actor as material and relationships to grow beyond MA Screen: Acting and maker. the College. MA Screen: Directing Ideas for stories and characters, but not sure how to make them move? UNDERGRADUATE COURSES Offering a rigorous conservatoire training, this BA (Hons) Performance: Design and Practice course will facilitate your physical, intellectual MA Character Animation is for designers, and expressive development into a skilled and artists and illustrators who want to learn how to versatile actor. MA Acting explores English animate. It is a practical course which will teach and Russian traditions of acting, bringing them you how to make your characters do much together in creative interaction. On the course, more than move – it will teach you to make you will investigate two towering figures of them perform. You will learn timing, software, European dramatic literature: Shakespeare storytelling, character design, film language and Chekhov. You will apply techniques to a and take acting lessons and weekly life drawing practical investigation of their plays, establishing lessons. Alongside this, you will also explore parallels between their dramatic approaches. historical and critical approaches to animation. By tracing these influences back to their sources, the course highlights the contexts from MA Character Animation fosters universal which contemporary acting draws its strengths. techniques and adaptable, practice-based knowledge. You will learn skills which can be applied to different software packages, technical processes, creative approaches and distribution technologies in the future.

Jeroen Bloemen and

Nasia Papavasiliou, 43 MA Performance Design Ninad Samaddar, Georgina Ambrey and Nicky Francis •

and Practice Andrea Matthea-Laing, MA Acting MA Character Animation 42 Degree Show 2019 MA Character Animation MA MA MA SCREEN: MA SCREEN: DRAMATIC PERFORMANCE ACTING DIRECTING WRITING DESIGN AND One year full-time One year full-time Two years extended full-time A Drama Centre course at Central Saint A Drama Centre course at Central Saint Martins, PRACTICE Martins, MA Screen: Acting provides a rigorous MA Screen: Directing trains you to inspire We train the next generation of writing talent, Two years extended full-time conservatoire training, focused on performance creative performance from actors on screen. giving them the confidence and skills required for the screen. to thrive in the industry. Bringing together artists, directors, writers, Working closely with MA Screen: Acting, this researchers and designers, this course sets The course will teach you to apply your skills course gives you the intellectual and artistic MA Dramatic Writing offers training and the agendas that drive performance practice in to practical screen projects and a wide range tools to tell story through narrative drama. support for creative adventure and personal the twenty-first century. of genres. MA Screen: Acting provides training The course will prepare you for work in film, development. The course is concerned with for screen actors interested in character-led television and related fields by bringing together the production of text for performance and how MA Performance Design and Practice explores storytelling. the key skills required to produce high-quality, writers can find an audience for their work in an performance making, design and time-based filmed drama. The course focuses on the As part of the Performance programme at ever-changing landscape. It explores the art of work. It promotes hybrid practices, critically importance of genre, casting and narrative. Central Saint Martins, it offers the opportunity scriptwriting through the prism of an intensely exploring the conventional boundaries between From storyboard to subtext, you will develop to collaborate with other courses and is competitive UK and global industry. fine art performance and theatre. It encourages your own distinct artistic voice. Alongside the delivered in close collaboration with MA Screen: criticality and restlessness, alongside an technical demands of film-making, you will The course engages with tradition and Directing. Studies on the course include acting exploration of new forms of practice. It experience the acting process from both sides innovation in dramatic writing across skills and practice, the creation and production asks: What is the context for contemporary of the camera. You will gain insight into acting contemporary theatre, radio, television, film of filmed dramas and in-depth preparation performance? What is its purpose? methodologies and processes, designed to give and digital media. The course contributes techniques for interviews and auditions. Who is it for? you the necessary vocabulary and abilities to to debates relating to scriptwriting, script Integrating individual and group work, MA thrive in the industry. development and script production. You will The course will support you to become an Screen: Acting promotes collaborative, joined- explore what constitutes dramatic writing and independent practitioner in the fields of up thinking in the creative process of screen- critically analyse convention and form. experimental theatre, live art and dramaturgy based fiction. through design. You will create theatre which acknowledges the expanding and contested field of performance. You will interrogate conventions and roles, such as that of the writer, designer, director and performer.

‘We challenge our students through hard work. We introduce them to the work of many successful practitioners past and present. We encourage them to find their own voice through a rigorous understanding of what has gone before.’ 47 Anthony Clark, MA Dramatic Writing, Rebecca Cartwright and Stephanie Hadfield •

Course Leader MA Performance Design and Practice MA Screen: Acting and MA Screen: Directing 46 We engage in design through The Product, Ceramic and materiality and materiality Industrial Design programme MA INDUSTRIAL through design. Although we work consists of the following courses: in the world of things, it is the DESIGN needs and connections between POSTGRADUATE COURSES Two years extended full-time people that interest us most. MA Industrial Design We are committed to creative MA Design (Ceramics); MA Industrial Design is recognised MA Design (Furniture); ambition, collaboration and internationally as a leader in postgraduate transformative design practices MA Design (Jewellery) that deliver results for people, industrial design education. UNDERGRADUATE COURSES enterprises and the environment. This course will teach you to be strategic, BA (Hons) Ceramic Design BA (Hons) Product and respond to trends, initiate new design Industrial Design approaches and thrive in multidisciplinary teams. It invites you to question what industry is today and to consider the changing paradigms of design practice. Here, you will reappraise the discipline, addressing critical and socially responsive design as well as industrial design Inessa Kovalova in market-led contexts. This continual review of MA Design (Jewellery) what industrial design is creates a culture that is independent of a particular style or dogma. Pengfei Xu Instead, it encourages diverse engagement, MA Industrial Design reflection, negotiation and prototyping of futures for the discipline.

Qiang Huang MA Industrial Design

GERARDO LEON MA Industrial Design ‘The Microbiome Collective’ This proposal offers a speculative platform that makes visible the beneficial and adverse biological connections we have with places. Through a handheld device and mobile application, it displays how passage through cities affects the balance of health. This is caused by the unseen microbiome – a community

of microorganisms which belong to 49 Chloé Durán Stone Yuqi Deng a particular environment, inside and •

MA Design (Furniture) MA Industrial Design outside of our bodies. 48 Tijana Kostic MA DESIGN MA Design (Furniture) (CERAMICS); MA DESIGN (FURNITURE); MA DESIGN (JEWELLERY) Two years extended full-time MA Design focuses on your individual design practice and will broaden your career and research horizons. Through researching, analysing, designing, making and immersion in material processes, this course will challenge you to make your mark on the global design industry. This course offers three pathways: Ceramics, Furniture Dian Chen and Jewellery. Framed within one course, MA Design (Jewellery) these disciplines all have a rich tradition in material-led creativity. We explore evolving disciplinary boundaries, embracing ideas of practice beyond traditional definitions. This allows a range of hybrid practices to emerge, disrupting assumptions around design, craft and manufacture. The course focuses on design as a process and as a practice. We look at design as modes of thinking, as ways of communicating to audiences and systems of engagement with the materiality of the world.

Angela Thirkell MA Design (Ceramics) We invent spaces, structures The Spatial Practices programme and experiences by engaging consists of the following courses: M ARCH: with the physical, social and political infrastructures of the POSTGRADUATE COURSES ARCHITECTURE contemporary city. Our mission is M ARCH: Architecture Two years extended full-time to equip students with the skills MA Cities and opportunities to reconsider MA Narrative Environments In a world where established customs, systems conventional architectural and structures are increasingly unstable, we and spatial design in transformative UNDERGRADUATE COURSES ways – to carve new pathways into BA (Hons) Architecture need a different kind of architectural thinking. architectural practice and beyond. On M ARCH: Architecture, you will address the challenges of contemporary society through the built environment. The course draws on the dynamic design thinking and making skills from different practices. This ranges from art to curation, graphic communication design to fashion and performance to product design. On this course, you will develop new insights, solutions and methods to explore new forms of architecture. Through research and intervention, you will address the challenges Mark Freeman of a rapidly changing urban environment. M ARCH: Architecture M ARCH: Architecture provides you with the second degree in the professional pathway toward registration as an architect – commonly referred to as Part 2.

Neba Sere, M ARCH: Architecture

Zahra Toolabi MA Narrative Environments

Olivia Page M ARCH: Architecture 53 Lucy Stapylton-Smith and Guillaume Choquard Olivia Page •

M ARCH: Architecture M ARCH: Architecture 52 MA CITIES MA NARRATIVE Two years part-time or flexible mode over a period of up to five years ENVIRONMENTS Two years extended full-time MA Cities explores alternative, creative approaches to city-making. MA Narrative Environments combines stories and spaces to create memorable Through a critical and experimental approach, human experiences. you will challenge conventions of urban development and regeneration, exploring On this course, you will design visitor new forms of knowledge exchange through experiences for the public realm, museums and culturally engaged participatory processes. brands. MA Narrative Environments responds MA Cities understands the city as a to the growing need for multidisciplinary collaborative and contested space. The collaboration and critical, socially engaged course confronts the pressing concerns design. It addresses the demand for meaningful affecting cities through international visitor experiences in cultural, commercial and collaboration and exchange. community environments. This encompasses heritage sites, museums, retail, travel and The course is delivered through intensive three leisure destinations, urban public spaces, to five day learning sprints, online engagement libraries, health and educational environments. and involvement in urban sites. You will experiment with new forms of situated practice, You will explore how to embed content, social engagement and tactical methodologies. through space, and over time, to engage You will also explore ideas of cultural people’s imaginations. The course addresses infrastructure and creative citizenship. current market opportunities by promoting methods which are participatory, multi-layered Please note that MA Cities is a new course and is subject to validation. Validation is the process by and support economic, social, cultural, which the University develops new courses. It is environmental sustainability and democracy. developmental in nature and makes sure students get You will also be encouraged to employ new a high-quality academic experience. During validation technologies to support connectivity and there may be some changes to the course content. communication.

Degree Show 2019 Diane Dwyer M ARCH: Architecture and MA Narrative Environments MA Narrative Environments different subject areas. across interests research shared with creatives connect These by us. supported postgraduate students and academics interestcross-disciplinary groups COMMUNITY POST-GRAD different bring together postgraduate students from organise to want who students for available is Funding FUNDING of issue-specific, number A growing GROUPSINTEREST to visits specialists, industry with talks include can They afield. further UALat and happen events Our of practice. communities sharing, networking, collaboration and new skill- fosters that of events programme varied and established We an have EVENTS PROGRAMME curriculum.course of their outside opportunities and events UAL’s to across from access Colleges six Our platform gives postgraduate students OPPORTUNITIES CROSS-COLLEGE student-led activity. and curator-led tours studios, artist’s network of creative professionals resulting in informed, an connected and confident postgraduate taught and research students, opportunities, events for networking and toaccess cross-College and cross-disciplinary UAL Post-Grad provides Community courses collaborative

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58 • 59 A guide to postgraduate PHOTOGRAPHY CREDITS PHOTOGRAPHY CREDITS FEES AND FUNDING Page 1 Photo © Jasper Goodall. Page 42 Photo © Vic Phillips. studies at Central Saint Page 2 Photo © Elissa Brunato. Page 43 Left: Photo © Jon Lee. Martins, University of Page 3 Photo © Elaine Perks. Right: Images © Nicky Francis. Page 4 Photo © John Sturrock. Page 44–45 Photo © John Sturrock. the Arts London Page 5 Photo © Elaine Perks. Page 46 Photo © John Sturrock. Page 6–7 Casting workshop, Photo © John Sturrock. Page 47 Photo © Danny Baldwin. Materials and Products Collection, Photo © Alys Page 48 Left: Photo © Chloé Durán Stone. Top Right: Tomlinson. MA Fine Art studios, Photo © Ideal Insight. Photo © Inessa Kovalova. Bottom: Photo © Yuqi Deng. Published by Central Saint Martins, FLEXIBLE PAYMENTS All other photos © Elaine Perks. Page 49 Top: Photo © Pengfei Xu. Photo © Qiang Huang. University of the Arts London, 2019 Page 8 Photo © Elaine Perks. Bottom: Photo © Gerardo Leon. Postgraduate students are able to pay course All rights reserved tuition fees in instalments for courses that last Page 9 Photos © John Sturrock. Page 50 Top: Photo © Dian Chen. longer than 30 weeks. HEAD OF COLLEGE Page 10 Photo © Carole Collet. Bottom: Photo © Angela Thirkell. Jeremy Till Page 11 Top Left: Photo © Vincente Mateu. Page 51 Photo © Tijana Kostic. If you are an international student, you Top Right: Photo © Catarina Heeckt. Bottom: Page 52 Top: Photos © Elaine Perks. Bottom: should ensure that you have met the financial Photos © Sława Harasymowicz. Photo © Lucy Stapylton-Smith and Guillaume Choquard. Boyle & Perks conditions of your visa. UK Visas and Page 12 Top Left: Saroj Patel, Photo © John Sturrock. Page 53 Top: Photo © Neba Sere. Bottom Left: Photo Immigration (UKVI) requires students to prove PROJECT MANAGER Middle: Ana Rita Otsuka, Photo © Ana Rita Otsuka. © Paul Cochrane. Bottom Right: Photo © Olivia Page. Jennifer Newman Bottom, Left to Right: Ingrid Rautemberg, Photo © Page 54–55 Photos © John Sturrock. that they have the funds to pay the full tuition Elaine Perks. Eunhye Ko, Photo © Elaine Perks. Page 57 Photos © Unai Mateo Lopez. fees for the year and have held the funds for EDITORIAL MANAGER Jacobo Prieto Gomez, Photo © Jacobo Prieto Gomez. at least the previous 28 days at the point they Kathryn Lloyd Page 13 Top, Left to Right: Lois Bentley, Photo © Page 60 Photo © Alys Tomlinson. apply for the visa. Jasper Goodall. Monika Kühne-Jørgensen © Jasper ADDITIONAL EDITING Goodall. Ye-Byeol Sim, Photo © Elaine Perks. arts.ac.uk/study-at-ual/fees-and-funding/ Teleri Lloyd-Jones Bottom, Left to Right: Merve Kasrat, Photo © Jasper tuition-fees/postgraduate-tuition-fees/pay- Goodall. Liam Johnson, Photo © catwalking.com. TERMS AND CONDITIONS: Ye-Byeol Sim, Photo © Elaine Perks. fees-by-instalment If you accept an offer from UAL and Lisa Arzaghi, Photo © Elaine Perks. enrol on one of our courses, you will be Page 14 Top: Photos © John Sturrock. subject to UAL’s Enrolment Terms and Bottom: Photo © Vic Phillips. WORKING AND STUDYING Conditions and Student Regulations. Part-time work could help you cover your living ‘Working during my studies through Visit the UAL website for more information. Page 15 Photos © Elaine Perks. costs and tuition fees and UAL can support ArtsTemps has been useful for career arts.ac.uk/study-at-ual/apply Page 16 Top: Photo © Mita Vaghela. your job search. advancement. It’s a great experience Bottom: Photos © Elaine Perks. working with different departments Information provided by the College is Page 17 Photo © Elaine Perks. within the University, putting a little accurate at the time of first publication. Creative Opportunities is UAL’s jobs and work Page 18 Image © Afterall. money aside and adding to the Courses, however, remain subject to placement website, where as many as 500 Page 19 Left: Photo © Clara Boulard. all-important portfolio at the change. More information can be found vacancies are advertised each month. Right: Image © Catherine Yass. same time.’ on the UAL website. Page 20 Photos © Sam Nightingale. ArtsTemps is UAL’s in-house agency that arts.ac.uk/disclaimer Savannah Bader, MA Graphic Page 21 Photo © Jolly Thompson. recruits students and recent graduates for Communication Design Thanks to all students, staff, Page 22 Photos © Glenn Michael Harper. paid temporary jobs across the University, photographers and alumni who providing hands-on creative experience and contributed to this publication. Page 23 Image © MA Innovation Management. the opportunity to work on a range of projects Page 24 Left: Photos © Asia Werbel. Right: Photo © catwalking.com tailored to your skills. Page 25 Photo © Kiri Leigh Zullo. There are limits on the number of hours Pages 26–27 Photos © catwalking.com. international students can work on a study Pages 28–29 Photos © catwalking.com. visa, so you should always check the rules Page 30 Photo © Gary Bradnick. before you take on a part-time job. Page 31 Left: Photo © Serena Aureli. Right: Photo © Sun Fanding. artstemps.arts.ac.uk Page 32 Top Left: Balint Barca.Middle: Photo © Alannah Eileen Cooper. Bottom: Photo © Jac Chung. creativeopportunities.arts.ac.uk Page 33 Photo © Alannah Eileen Cooper. Central Saint Martins Page 34 Left: Photo © Jasper Goodall. Granary Building Right: Photo © Ana Rita Otsuka. Page 35 Photos © Max Colson. 1 Granary Square Page 36–37 Photo © Elaine Perks. Page 38 Left: Photos © Elaine Perks. King’s Cross Right: Photo © Noémie Soula. London, N1C 4AA Page 39 Left: Photo © Paul Cochrane. Right: Photo © Xinjia Zhou. +44 (0)20 7514 7000 Page 40–41 Photo © John Sturrock. A guide to postgraduate PHOTOGRAPHY CREDITS FEES AND FUNDING Page 1 Photo © Jasper Goodall. studies at Central Saint Page 2 Photo © Elissa Brunato. Martins, University of Page 3 Photo © Elaine Perks. Page 4 Photo © John Sturrock. the Arts London Page 5 Photo © Elaine Perks. Page 6–7 Casting workshop, Photo © John Sturrock. Materials and Products Collection, Photo © Alys Tomlinson. MA Fine Art studios, Photo © Ideal Insight. FLEXIBLE PAYMENTS Published by Central Saint Martins, All other photos © Elaine Perks. University of the Arts London, 2019 Page 8 Photo © Elaine Perks. Postgraduate students are able to pay course All rights reserved tuition fees in instalments for courses that last Page 9 Photos © John Sturrock. longer than 30 weeks. HEAD OF COLLEGE Page 10 Photo © Carole Collet. Jeremy Till Page 11 Top Left: Photo © Vincente Mateu. If you are an international student, you Top Right: Photo © Catarina Heeckt. Bottom: DESIGN AND ART DIRECTION should ensure that you have met the financial Photos © Sława Harasymowicz. Boyle & Perks conditions of your visa. UK Visas and Page 12 Top Left: Saroj Patel, Photo © John Sturrock. Immigration (UKVI) requires students to prove PROJECT MANAGER Middle: Ana Rita Otsuka, Photo © Ana Rita Otsuka. Jennifer Newman Bottom, Left to Right: Ingrid Rautemberg, Photo © that they have the funds to pay the full tuition Elaine Perks. Eunhye Ko, Photo © Elaine Perks. fees for the year and have held the funds for EDITORIAL MANAGER Jacobo Prieto Gomez, Photo © Jacobo Prieto Gomez. at least the previous 28 days at the point they Kathryn Lloyd Page 13 Top, Left to Right: Lois Bentley, Photo © apply for the visa. Jasper Goodall. Monika Kühne-Jørgensen © Jasper ADDITIONAL EDITING Goodall. Ye-Byeol Sim, Photo © Elaine Perks. arts.ac.uk/study-at-ual/fees-and-funding/ Teleri Lloyd-Jones Bottom, Left to Right: Merve Kasrat, Photo © Jasper tuition-fees/postgraduate-tuition-fees/pay- Goodall. Liam Johnson, Photo © catwalking.com. TERMS AND CONDITIONS: Ye-Byeol Sim, Photo © Elaine Perks. fees-by-instalment If you accept an offer from UAL and Lisa Arzaghi, Photo © Elaine Perks. enrol on one of our courses, you will be Page 14 Top: Photos © John Sturrock. subject to UAL’s Enrolment Terms and Bottom: Photo © Vic Phillips. WORKING AND STUDYING Conditions and Student Regulations. Part-time work could help you cover your living ‘Working during my studies through Visit the UAL website for more information. Page 15 Photos © Elaine Perks. costs and tuition fees and UAL can support ArtsTemps has been useful for career arts.ac.uk/study-at-ual/apply Page 16 Top: Photo © Mita Vaghela. your job search. advancement. It’s a great experience Bottom: Photos © Elaine Perks. working with different departments Information provided by the College is Page 17 Photo © Elaine Perks. within the University, putting a little accurate at the time of first publication. Creative Opportunities is UAL’s jobs and work Page 18 Image © Afterall. money aside and adding to the Courses, however, remain subject to placement website, where as many as 500 Page 19 Left: Photo © Clara Boulard. all-important portfolio at the change. More information can be found vacancies are advertised each month. Right: Image © Catherine Yass. same time.’ on the UAL website. Page 20 Photos © Sam Nightingale. ArtsTemps is UAL’s in-house agency that arts.ac.uk/disclaimer Savannah Bader, MA Graphic Page 21 Photo © Jolly Thompson. recruits students and recent graduates for Communication Design Thanks to all students, staff, Page 22 Photos © Glenn Michael Harper. paid temporary jobs across the University, photographers and alumni who providing hands-on creative experience and contributed to this publication. Page 23 Image © MA Innovation Management. the opportunity to work on a range of projects Page 24 Left: Photos © Asia Werbel. Right: Photo © catwalking.com tailored to your skills. Page 25 Photo © Kiri Leigh Zullo. There are limits on the number of hours Pages 26–27 Photos © catwalking.com. international students can work on a study Pages 28–29 Photos © catwalking.com. visa, so you should always check the rules Page 30 Photo © Gary Bradnick. before you take on a part-time job. Page 31 Left: Photo © Serena Aureli. Right: Photo © Sun Fanding. artstemps.arts.ac.uk Page 32 Top Left: Balint Barca.Middle: Photo © Alannah Eileen Cooper. Bottom: Photo © Jac Chung. creativeopportunities.arts.ac.uk Page 33 Photo © Alannah Eileen Cooper. Central Saint Martins Page 34 Left: Photo © Jasper Goodall. Granary Building Right: Photo © Ana Rita Otsuka. Page 35 Photos © Max Colson. 1 Granary Square Page 36–37 Photo © Elaine Perks. Page 38 Left: Photos © Elaine Perks. King’s Cross Right: Photo © Noémie Soula. London, N1C 4AA Page 39 Left: Photo © Paul Cochrane. Right: Photo © Xinjia Zhou. +44 (0)20 7514 7000 Page 40–41 Photo © John Sturrock.