Graduate Programs The only degree of its kind in the U.S., one The MPS Fashion of its goals is to dismantle the place of fashion photography and film in contemporary soci- Photography ety, and students are encouraged to scrutinize their practice. Aiding the discourse around graduate program what makes a fashion image successful both was founded in 2011 to give precedence to the aesthetically and conceptually, the classes concepts that underpin photographic practice also equip students to work within the industry, within the space of fashion. A one-year inten- providing the tools to collaborate and build sive graduate curriculum, taught by faculty bridges to stakeholders. The ideal candidate and guest speakers that make up some of the for the program will already be fully versed in most innovative and influential people in the the technical tools and apparatuses of pho- industry, its aims are rooted in extending the tography and possess professional experience. visual language of the students. Fashion pho- The yearlong curriculum is constructed tography always acts as a mirror of the times, around producing an original body of work and in response to today’s sociopolitical cli- to be displayed in a group exhibition at the mate, we have seen an increased exploration end of the term, as well as a short film screened of identity through the medium. As a result, at a private event. The success of both of these a new generation has come to the fore to projects hinges on the ability of the student to explore issues of race, sexuality and gender, present a unique vision and personal viewpoint. globalization and sustainability. Students are invited to engage with these factors, and in —Barry Sutton, program director turn the work they produce goes far beyond displaying garments or accessories for com- mercial consumption. About the Program

At the core of the program are the weekly Fashion Photography Critique and Symposium courses. The Critique is a gathering in which Degree candidates must successfully the students discuss and challenge each complete 30 credits, including all required other’s work, guided by a faculty moderator. courses; earn a cumulative GPA of 3.0 or Symposium is a flexible format that acts as a higher; and create an original, challenging and framework for critiques with fashion photog- provocative portfolio of images. raphers, creative directors, museum directors and fashion designers,; and for field trips, ARTIST IN RESIDENCE lectures, readings and exhibitions, and for The annual SVA MPS Fashion Photography various dialogues with industry professionals. artist in residence position names an An emphasis is placed on the synthesis of individual fashion photographer or director, diverse and unexpected cultural information whose endeavors contribute to the ongoing as pictorial inspiration. definition of the genre, and provides a context Video and its increasing importance for involvement with the graduate students. in fashion will be central to the program, The work of the artist in residence represents and what constitutes fashion video will be creativity, innovation and dedication to the developed and defined and shaped. The influ- evolving field of fashion imagery. Recipients ence of the Internet, social networking and of the artist in residence award will collabo- transformations in media and publishing will rate with students throughout the school be part of the conversation, and each student year as well as present a lecture on their work will be expected to complete a fully realized at the SVA Gallery. Previous artists in video piece. residence include photographers Erik One-semester courses will be held on Madigan Heck, Jamie Hawkesworth, Brianna fashion photography topics such as history, Capozzi and Charlie Engman. logistics, career development, digital practice, narrative and cinema.

Guanru Feng, Class of 2019

5 CASE STUDY Hailun Ma A Photographer Brings a Fashion Focus Back to Her Hometown

Growing up in China’s Xinjiang Uyghur Autono- mous Region, Hailun Ma (Class of 2018) would have her picture taken in a photo studio each year on her birthday. For the occasion, she used to dress in themed outfits and pose in front of various backgrounds. This kind of photography, called yishuzhao, is a popular in China—and was Hailun’s first encounter with the art form. 

6 MPS FASHION PHOTOGRAPHY 7 From a young age, Hailun knew that she really big—she benefited from the guidance wanted to pursue photography professionally. of her professors, who not only understood So, she decided to move to New York City her struggles but also supported her creative to study it at SVA. Her parents were very growth, her particular narrative, and her supportive of her journey, and were the first unique vision. people Hailun would show her work to. The work that she completed during Her experience in the MPS program was her graduate studies at SVA brought her a very inspiring. She garnered more exper- lot of attention and opportunities, and she tise in fashion photography, from concept decided to move back to China to be closer development and treatment to more practical to her hometown and her roots. Relocating aspects of the industry. She felt prepared and to Shanghai was a difficult transition at confident to pursue photography as a career. first, but since having practiced the busi- Both the guest speakers and the diverse, ness aspect of the industry during the MPS accomplished faculty were eye-opening and program, she felt well equipped to handle pivotal to her growth. it. Hailun is now able to sustain herself as a Though there were times when Hai- full-time freelance photographer. Her fashion lun felt unfit and questioned what fashion work prominently features portraits of local meant to her—having come from a small people from her native village, where a large and remote city where “high fashion” wasn’t population of Muslims live and are subject to discrimination and oppression by the Chinese government.

8 MPS FASHION PHOTOGRAPHY Hailun’s work has received international attention and has been highlighted in publica- tions including New York magazine, It’s Nice That, i-D and Nylon magazine. Her future looks colorful and brimming with opportuni- ties. She is creating a photo book related to her Hometown series, and is excited for other projects that she has lined up.

11 Curriculum/ Sample Program Degree candidates must successfully complete 30 cred- its, including all required courses and the thesis project. A residency of two academic semesters is required.

FALL CREDITS Fashion Film I 3 Fashion Photography Critique I 3 History of Fashion Photography 3 Ideation 3 Symposium I 3

SPRING CREDITS Collaborative Process 3 Fashion Film II 3 Fashion Photography Critique II 3 Fashion Photography Today 3 Symposium II 3

Hailun Ma, Class of 2018 The faculty and guest lecturers include some of the most creative and influential

professionals in the industry.” —Barry Sutton, program director

13 Course Offerings A sample of our course descriptions follows. All course descriptions can be found online at: sva.edu/mpsfashionphoto/curriculum.

Tyler Hooks, Class of 2020

FASHION FILM I & II FASHION PHOTOGRAPHY Partly as a result of the rapid transformations in media CRITIQUE I & II and publishing, and the influence of the Internet and At the conceptual core of the social media, fashion film has become increasingly program is the weekly discussion of important and the subject of much speculation. As a each student’s images, followed by fashion venue, it increases narrative and contributes a rigorous and thorough analysis of sound, music and motion. This course will focus on the those pieces. As an intimacy with production of a short fashion film. Sessions will include one another’s creations and objec- digital lab time with editing instruction. tives develops, the photos become refined through being challenged. A FASHION PHOTOGRAPHY TODAY vigorous participation in the con- Today’s ever-changing commercial world and our versation about each person’s work, increased consumption of images pose new challenges and a balance of generosity and for emerging photographers. The democratization useful criticism, is expected. of photography and its craft is modifying how we answer commercial briefs. Through discussion, practice and assignments, students will learn how to navigate this fast-paced and dynamic business, and will be better equipped to produce images that answer the briefs they face and fulfill client demands.

14 MPS FASHION PHOTOGRAPHY COLLABORATIVE PROCESS IDEATION Similar to cinema, fashion photog- This course centers on developing ideas. Leading raphy is a collaborative medium students through different spaces, places and conver- and its success lies in the photogra- sations, it will encourage them to see the world in their pher’s ability to work with a crew of own way and, in turn, influence the ideas that underpin individuals to produce the desired their photographic practice. Beginning with disman- image. This course will address tling preconceived notions of fashion photography, it the logistics of that effort, and will will outline the ideas and references behind some of emphasize the importance of cre- the most images in the industry. Lectures and field ative collaboration. Students, based trips will focus inspirational settings, as we journey on their sensibility and aesthetic, through contemporary dance, film, architecture and will form teams from the ranks other artists’ work to give students a foundation in of the professional photographic creative thinking and how to incorporate this into community. their photos.

HISTORY OF FASHION PHOTOGRAPHY Serving as a chronological examination of fashion photography, this course will begin with its inception as society reportage and its early flowering alongside pictorialism, surrealism and modernism in the 1920s and ’30s. We will then follow the creative developments of the genre both during the Second World War and the postwar era, when the American fashion industry emerged, and through the great social and stylistic changes of the 1960s and ’70s. Finally, the course will consider the influence of social liberalization on fashion imagery; the growth and globalization of the fashion image; and the impact of digital photography, the Internet and Pho- toshop from the 1990s to the present.

SYMPOSIUM I & II Throughout the year of study, Symposium acts as a weekly gathering of program participants for an array of activities: guest lectures and guest critiques, and trips to museum and gallery exhibitions. The emphasis will be on bringing a broad range of cultural ideas to the conversa- tion, and taking advantage of all the resources that New York offers.

Sihan Wang, Class of 2020

16 MPS FASHION PHOTOGRAPHY 17 Lecturers Notable Below is just a sample of guest lecturers who have spoken with our students.

Alumni Anne Christensen Catherine Newell-Hanson Mikey Asanin Ina Jang Hailun Ma mikeyasanin.com inaphotography.com hailunma.com stylist stylist

Dario Calmese Paul Jung Ricardo Rivera Grace Coddington Glenn O’Brien dariocalmese.com pauljung.co.uk ricardo-rivera.com Vogue writer, creative director

Bon Duke Peter Ash Lee Tory Rust Petra Collins Randall Peacock bonduke.com peterashlee.com toryrust.com photographer production, set design

Michael Groeger Wenjun Liang Matin Zad Jessica Craig-Martin Phyllis Posnick artinaction.de wenjunliang.com matinzad.com photographer Vogue

Tracy Doyle Bob Recine creative director hairstylist

Mark Fina Emmett Shine executive creative director, founder/CEO, Gin Lane Air Paris Leslie Simitch Alexander Galan EVP, Trunk Archive Great Bowery Mario Sorrenti Faculty Nathaniel Kilcer photographer art director, Bruce Weber/ Little Bear Press Sølve Sundsbø To learn more about our faculty, visit photographer Matthew Leifheit sva.edu/mpsfashionphoto/faculty. photographer, writer Lindsay Thompson senior agent Glen Luchford Barry Sutton Chiara Clemente Lyle Rexer photographer Tim Walker program director, MPS filmmaker, director, producer writer; critic; curator; Su Barbe photographer Fashion Photography columnist, Photograph creative director, Quynh Mai Department Mark Fina magazine Opening Ceremony Moving Image & Content Jack Webb chief creative officer, cinematographer Elizabeth Bick Air Paris Carol Squiers Olivia Bee Tyler Mitchell photographer writer; editor; curator, photographer photographer Shonagh Marshall International Center of curator, writer Photography Edward Brachfield Caroline Murphy producer agent, MAP

Zoe Bruns Robert Nethery Harper’s Bazaar photographer

18 MPS FASHION PHOTOGRAPHY 19 Application Process APPLICATION REQUIREMENTS For a full list of application requirements and detailed instructions, visit: sva.edu/grad/howtoapply „ Online Application and $80 Application Fee: sva.edu/apply

DEADLINES For information on application deadlines, visit: sva.edu/grad/timeline

IMPORTANT LINKS „ FAQ: sva.edu/grad/faq „ International students: sva.edu/grad/intl „ Tuition and fees: sva.edu/tuition „ Visit SVA: sva.edu/grad/visit

Jiajun Wu, Class of 2020

20 MPS FASHION PHOTOGRAPHY Contact Us Contact Us

We encourage applicants to visit our department. Contact us ACCREDITATION Pursuant to Section 52.21 of the Regulations of the directly to schedule a departmental tour or sign up to attend The School of Visual Arts has been authorized by the Commissioner of Education, the educator preparation an Information Session. For more information and to register, New York State Board of Regents (www.highered. program offered by the School of Visual Arts is con- go to: sva.edu/grad/visit. nysed.gov) to confer the degree of Bachelor of sidered to be continuously accredited for purposes If you have any questions about the application process, Fine Arts on graduates of programs in Advertising; of meeting the New York State requirement that all contact Graduate Admissions at 212.592.2107 or email: Animation; Cartooning; Computer Art, Computer such programs maintain continuous accreditation. [email protected]. Animation and Visual Effects; Design; Film; Fine Arts; The School of Visual Arts’ Master of Arts in Teaching Illustration; Interior Design; Photography and Video; in Art Education program was previously accredited Barry Sutton, program director, [email protected] Visual and Critical Studies; and to confer the degree by the Council for the Accreditation of Educator of Master of Arts on graduates of programs in Art Preparation (CAEP). Tel: 212.592.2368 Education; Critical Theory and the Arts; Curatorial Email: [email protected] Practice; Design Research, Writing and Criticism; and The Master of Professional Studies in Art Therapy Site: sva.edu/mpsfashionphoto to confer the degree of Master of Arts in Teaching degree program is approved by the American Art Department site: mpsfashionphoto.sva.edu on graduates of the program in Art Education; and to Therapy Association, Inc., and as such meets the edu- confer the degree of Master of Fine Arts on graduates cation standards of the art therapy profession. /mpsfashionphotography/ of programs in Art Practice; Art Writing; Computer twitter.com/svafashionphoto Arts; Design; Design for Social Innovation; Fine Arts; vimeo.com/mpsfashionphoto Illustration as Visual Essay; Interaction Design; CREDITS @svafashionphoto Photography, Video and Related Media; Products of © 2020, Visual Arts Press, Ltd. Design; Social Documentary Film; Visual Narrative; Executive creative director: and to confer the degree of Master of Professional Anthony P. Rhodes Studies on graduates of programs in Art Therapy; Creative director: Gail Anderson Branding; Digital Photography; Directing; Fashion Design director: Brian E. Smith Photography. Design: Anthony Carhuayo Editorial: Sheilah Ledwidge, Abby Kreh The School of Visual Arts is accredited by the Middle Case study writer: Sahar Khraibani States Commission on Higher Education (msche.org), 3624 Market Street, Suite 2 West, Philadelphia, PA 19104, 267.284.5000. The Commission on Higher The School of Visual Arts does not discrimi- MPS Fashion Education is an institutional accrediting agency nate on the basis of gender, race, color, creed, recognized by the U.S. Secretary of Education and the disability, age, sexual orientation, marital sta- Council for Higher Education Accreditation. tus, national origin or other legally protected Photography statuses. The School of Visual Arts is an accredited institu- tional member of the National Association of Schools The College reserves the right to make gave me the support and of Art and Design (nasad.arts-accredit.org). changes from time to time affecting policies, fees, curricula and other matters announced The Interior Design program leading to the Bachelor in this or any other publication. Statements in confidence to push beyond of Fine Arts in Interior Design is accredited by the this and other publications do not constitute Council for Interior Design Accreditation (accredit-id. a contract. org), 206 Grandville Avenue, Suite 350, Grand Rap- what would have been possible ids, MI 49503-4014. COVER: Huy Vu Le, Class of 2020

The School of Visual Arts’ Department of Art outside the program.” Education is currently pursuing accreditation of its educator preparation programs by the Association for — Paul Jung, Class of 2013 Advancing Quality in Educator Preparation (AAQEP).

22 MPS FASHION PHOTOGRAPHY School of Visual Arts

209 East 23rd Street, NYC sva.edu/grad