Specialize in Fashion Styling and convey your ideas to the public in an attractive way" 

Fashion and image are inseparable aspects that have to follow the same line in order to attract the public and gain their loyalty. Therefore, fashion design professionals not only have to be able to create innovative and attractive styles for the public, but also to be able to communicate, through their designs, their own ideas and inspirations. This is a complex process that requires extensive specialization, but it is essential to achieve success.

In this sense, fashion designs should not be single garments, but have to be understood as a global styling that is able to attract the public and Influencers who act as brand promoters, making known designs that are available to everyone, but that in the XXI century reach consumers through social media. To increase the skills of professionals in this field, this Professional master’s degree in Fashion Styling has been designed, which includes the most relevant information on the history of contemporary art, clothing, fashion designs, photography, styling and fashion marketing, so that the student acquires in a single program the necessary education to develop in this field.

With all this, TECH Global University aims to meet the high specialization objective demanded by fashion designers, who are looking for high-quality programs to increase their training and offer users garments that will become indispensable for their closet. In order to achieve this objective, it offers a cutting-edge program adapted to the latest developments in the sector, with an absolutely up-to-date syllabus and carried out by experienced professionals who are willing to make all their knowledge available to their students. It should be noted that, as it is a 100% online Professional master’s degree, the student will not be conditioned by fixed schedules or the need to move to another physical location, but can access all the contents at any time of the day, balancing their work and personal life with their academic life. 

Achieve professional excellence in a sector as competitive as the fashion industry, thanks to the superior qualification offered by TECH"

This Professional master’s degree in Fashion Styling contains the most complete and up-to-date scientific program on the market. The most important features include:

• The development of practical cases presented by experts in fashion
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies in styling, image and fashion communication
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

The online format of this Professional master’s degree will be essential for you to be able to combine it with the rest of your daily obligations" 

Its teaching staff includes professionals from the fashion industry, who bring to this program the experience of their work, as well as renowned specialists from leading societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will allow professionals to learn in a contextual and situated learning environment, i.e., a simulated environment that will provide immersive specialization for real situations.

The design of this program focuses on Problem-Based Learning, by means of which professionals must try to solve the different professional practice situations that are presented to them throughout the academic year. For this purpose, professionals will be assisted by an innovative interactive video system created by renowned and experienced experts.

A comprehensive program that will be indispensable for your professional development in the fashion industry"

Access a multitude of case studies and specialize to work in a cutting-edge sector"

The content of this Professional master’s degree structurally covers all the areas of knowledge that fashion professionals need to know in depth, including the most interesting news and updates in the sector. A high-quality study that will allow students to compete with solvency and sufficient capacity in a highly competitive industry. To this end, the syllabus has been designed by professionals with extensive experience, who have captured all their expertise in a program that will be indispensable in the curriculum of professionals of the 21st century.

A very comprehensive, well-structured syllabus, designed to provide an effective overview of the most up-to-date concepts in Fashion Styling" 

Module 1. Colorimetry

1.1. Color Theory 

1.1.1. Perception of Form and Space 
1.1.2. Color. Definition 
1.1.3. Color Perception 
1.1.4. Color Properties or Dimensions 
1.1.5. Color Classification 

1.2. Color Perception 

1.2.1. The Human Eye 
1.2.2. Color Vision 
1.2.3. Variables in Color Perception 
1.2.4. Non-Visual Color Perception 

1.3. Color Modeling and Standardization 

1.3.1. History of Color 

1.3.1.1. First Theories 
1.3.1.2. Leonardo Da Vinci 
1.3.1.3. Isaac Newton 
1.3.1.4. Moses Harris 
1.3.1.5. Goethe 
1.3.1.6. Runge 
1.3.1.7. Chevreul 
1.3.1.8. Rood 
1.3.1.9. Munsell 
1.3.1.10. Ostwald 

1.3.2. Visual Perception 

1.3.2.1. Absorption and Reflection 
1.3.2.2. Pigment Molecules 

1.3.3. Color Attributes 

1.3.3.1. Tone 
1.3.3.2. Luminance 
1.3.3.3. Saturation 

1.3.4. Warm and Cool Colors 
1.3.5. Harmony in Colors 
1.3.6. Contrast 
1.3.7. Color Effects 

1.3.7.1. Size 
1.3.7.2. Transparency, Weight and Mass 

1.4. Semiotics and Semantics of Color 

1.4.1. Semiotics of Color 
1.4.2. Color Description 
1.4.3. Colors: Material, Light, Perceptions, Sensations
1.4.4. Color and Material 
1.4.5. The Truth of a Color 
1.4.6. Color Perception 
1.4.7. The Weight of a Color 
1.4.8. The Color Dictionary 

1.5. Color in Design 

1.5.1. Chromatic Trends 
1.5.2. Graphic Design 
1.5.3. Interior Design 
1.5.4. Architecture 
1.5.5. Landscape Design 
1.5.6. Fashion Design 

1.6. Composition 

1.6.1. General Aspects

1.6.1.1. Codes Used 
1.6.1.2. Originality and Banality 
1.6.1.3. Degree of Iconicity and Abstraction 

1.6.2. Configurational Organization of the Image: Relation between Background and Figure 
1.6.3. Configurational Organization of the Image: Gestalt Laws 
1.6.4. Configurational Organization of the Image: Systems of Spatial Organization 

1.6.4.1. Balance: Static or Dynamic. Focal or Orthogonal System 
1.6.4.2. Proportion 
1.6.4.3. Symmetry 
1.6.4.4. Movement and Rhythm 

1.6.5. Field Study 

1.7. Image Functions 

1.7.1. Representative 

1.7.1.1. Cartographic 
1.7.1.2. Scientist 
1.7.1.3. Architectural 
1.7.1.4. Projectual 

1.7.2. Persuasive 
1.7.3. Artistic 

1.8. Color Psychology 

1.8.1. Warm Colors and Cool Colors 
1.8.2. Physiological Effects 
1.8.3. Color Symbolism 
1.8.4. Personal Color Preferences 
1.8.5. Emotional Effects 
1.8.6. Local Color and Expressive 

1.9. The Meaning of Color 

1.9.1. Blue 
1.9.2. Red 
1.9.3. Yellow 
1.9.4. Green 
1.9.5. Black 
1.9.6. White 
1.9.7. Orange 
1.9.8. Violet 
1.9.9. Pink 
1.9.10. Gold 
1.9.11. Silver 
1.9.12. Brown 
1.9.13. Gray 

1.10. Color Use 

1.10.1. Sources of Dyes and Pigments 
1.10.2. Lighting 
1.10.3. Mixture of Oils and Acrylics 
1.10.4. Glazed Ceramics 
1.10.5. Colored Glass 
1.10.6. Color Printing 
1.10.7. Color Photography

Module 2. History of Contemporary Art 

2.1. Fauvism 

2.1.1. Origin and Influences 
2.1.2. Features 
2.1.3. Road Works 
2.1.4. Main Representatives 

2.2. Expressionism 

2.2.1. Origin and Influences 
2.2.2. Features 
2.2.3. Road Works 
2.2.4. Main Representatives 

2.3. Futurism 

2.3.1. Origin and Influences 
2.3.2. Features 
2.3.3. Road Works 
2.3.4. Main Representatives 

2.4. Abstract Art 

2.4.1. Origin and Influences 
2.4.2. Features 
2.4.3. Road Works 
2.4.4. Main Representatives 

2.5. Constructivism 

2.5.1. Origin and Influences 
2.5.2. Features 
2.5.3. Road Works 
2.5.4. Main Representatives 

2.6. Dadaism

2.6.1. Origin and Influences
2.6.2. Features
2.6.3. Road Works
2.6.4. Main Representatives 

2.7. Surrealism 

2.7.1. Origin and Influences 
2.7.2. Features 
2.7.3. Road Works 
2.7.4. Main Representatives 

2.8. First Artistic Currents of Post-Conceptual Art

2.8.1. Informalism 
2.8.2. New Figuration 
2.8.3. Kinetic Art 
2.8.4. Pop Art 
2.8.5. New Realism 
2.8.6. Action Art 

2.9. Second Artistic Currents of Post-Conceptual Art 

2.9.1. Minimalism 
2.9.2. Hyperrealism 
2.9.3. Conceptual Art 
2.9.4. Postmodernity 
2.9.5. Street Art 
2.9.6. Land Art 

2.10. Actuality of Post-Conceptual Art 

2.10.1. Pop Art 
2.10.2. Object Art 
2.10.3. Body Art 
2.10.4. Performance 
2.10.5. Facilities

Module 3. Photography 

3.1. History of Photography 

3.1.1. Background of Photography 
3.1.2. Color Photography 
3.1.3. Photographic Film 
3.1.4. The Digital Camera 

3.2. Image Formation 

3.2.1. The Photographic Camera 
3.2.2. Basic Parameters in Photography 
3.2.3. Photometry 
3.2.4. Lenses and Focal Length 

3.3. Photographic Language 

3.3.1. Types of Plans 
3.3.2. Formal, Compositional and Interpretative Elements of the Photographic Image 
3.3.3. Framing 
3.3.4. Representation of Time and Movement in Photography 
3.3.5. The Relationship of Photography with Reality and Truth 

3.4. The Photographic Camera 

3.4.1. Analog and Digital Cameras 
3.4.2. Simple Cameras 
3.4.3. The Reflex Cameras 
3.4.4. Basic Photographic Techniques 
3.4.5. Exposure and Exposure Meters 
3.4.6. The Digital Reflex Camera. The Sensor 
3.4.7. The Handling of the Digital Camera versus the Analog Camera 
3.4.8. Specific Aspects of Interest 
3.4.9. Ways of Working with the Digital Camera 

3.5. The Digital Image 

3.5.1. File Formats 
3.5.2. White Balance 
3.5.3. Color Temperature 
3.5.4. Histogram Exposure in Digital Photography 
3.5.5. Dynamic Range 

3.6. The Behavior of Light 

3.6.1. The Photon 
3.6.2. Reflection and Absorption 
3.6.3. Quantity and Quality of Light 

3.6.3.1. Hard and Soft Light 
3.6.3.2. Direct and Diffuse Light 

3.7. Expressiveness and Aesthetics of Lighting 

3.7.1. Shadows, Modifiers and Depth 
3.7.2. Lighting Angles 
3.7.3. Lighting Schemes 
3.7.4. Light Measurement 

3.7.4.1. The Photometer 
3.7.4.2. Incident Light 
3.7.4.3. Reflected Light 
3.7.4.4. Measurement Over Several Points 
3.7.4.5. Contrast 
3.7.4.6. Medium Gray 

3.7.5. Illumination Natural Light 

3.7.5.1. Diffusers 
3.7.5.2. Reflectors 

3.7.6. Artificial Light Illumination 

3.7.6.1. The Photographic Studio 
3.7.6.2. Sources of Illumination 
3.7.6.3. Cold Light 
3.7.6.4. Studio Flash and Compact Flash 
3.7.6.5. Accessories 

3.8. Editing Software 

3.8.1. Adobe Lightroom 
3.8.2. Adobe Photoshop 
3.8.3. Plugins 

3.9. Photo Editing and Development 

3.9.1. Camera RAW Development 
3.9.2. Noise and Focus 
3.9.3. Exposure, Contrast and Saturation Adjustments Levels and Curves 

3.10. References and Applications 

3.10.1. Most Important Photographers in History 
3.10.2. Photography in Interior Design 
3.10.3. Photography in Product Design 
3.10.4. Photography in Fashion Design 
3.10.5. Photography in Graphic Design 

Module 4. History of Clothing 

4.1. Prehistory 

4.1.1. Introduction 
4.1.2. Prehistoric Civilizations 
4.1.3. Trade in Prehistoric Times 
4.1.4. Costume in Prehistoric Times 
4.1.5. Furs and Fur Shops 
4.1.6. Fabrics and Techniques 
4.1.7. Chronological Concordances and Similarities in Prehistoric Clothing 

4.2. Ancient Age: Egypt and Mesopotamia 

4.2.1. Egypt 
4.2.2. The Assyrian People 
4.2.3. The Persian People 

4.3. Ancient Age: Classical Greece 

4.3.1. Cretan Clothing 
4.3.2. The Fabrics Used in Ancient Greece 
4.3.3. Ancient Greek Garments 
4.3.4. Ancient Greek Undergarments 
4.3.5. Ancient Greek Footwear 
4.3.6. Ancient Greek Hats and Headdresses 
4.3.7. Colors and Ornaments of Ancient Greece 
4.3.8. Accessories of Ancient Greece 

4.4. Ancient Age: The Roman Empire 

4.4.1. The Fabrics of Ancient Rome 
4.4.2. The Garments of Ancient Rome 
4.4.3. Undergarments of Ancient Rome 
4.4.4. Ancient Roman Footwear 
4.4.5. Ancient Roman Hats and Headdresses 
4.4.6. Relationship of Social Status and Clothing in Ancient Rome 
4.4.7. The Byzantine Style 

4.5. High Middle Ages and Low Middle Ages 

4.5.1. General Historical Features of the Medieval Period 
4.5.2. Clothing at the Beginning of the Middle Ages 
4.5.3. Clothing in the Carolingian Period 
4.5.4. Clothing in the Romanesque Period 
4.5.5. The Gothic Clothing 

4.6. The Modern Age: Renaissance, Baroque and Rococo

4.6.1. Century XV and XVI: Renaissance 
4.6.2. XVII Century: Baroque Period 
4.6.3. 18th Century Rococo 

4.7. Contemporary Age: Neoclassicism and Romanticism 

4.7.1. The Clothing Industry 
4.7.2. Charles Frederick Worht 
4.7.3. Jacques Doucet 
4.7.4. Women's Clothing 
4.7.5. Josephine Bonaparte: The Empire Style 

4.8. Contemporary Age: Victorian Era and Belle Époque

4.8.1. Queen Victoria 
4.8.2. Men's Clothing 
4.8.3. Dandy 
4.8.4. Paul Poiret 
4.8.5. Madeleine Vionnet 

4.9. Contemporary Age: From Clothing to Fashion 

4.9.1. New Context and Social Change 
4.9.2. Fashion Designers 
4.9.3. Coco Chanel 
4.9.4. The New Look 

4.10. Contemporary Age: The Century of Designers and Fashion 

4.10.1. The Modern Clothing 
4.10.2. The Rise of the American Designers 
4.10.3. The London Scene

Module 5. Theory of Aesthetics and the Arts 

5.1. Origin and Antiquity of Aesthetics 

5.1.1. Definition of Aesthetics 
5.1.2. Platonism  
5.1.3. Aristotelianism 
5.1.4. Neoplatonism 

5.2. Mimesis, Poiesis, and Katharsi 

5.2.1. Mimesis 
5.2.2. Poiesis 
5.2.3. Kátharsi 

5.3. Middle and Modern Ages 

5.3.1. Scholasticism 
5.3.2. The Renaissance 
5.3.3. Mannerism 
5.3.4. Baroque 
5.3.5. Rationalism 
5.3.6. Empiricism 
5.3.7. Enlightenment 
5.3.8. Idealism 

5.4. The Definition of Art Today 

5.4.1. Art 
5.4.2. The Artist 
5.4.3. Taste and Critique 
5.4.4. Fine Arts 

5.5. Fine Arts

5.5.1. Architecture 
5.5.2. Sculpture 
5.5.3. Painting 
5.5.4. Music 
5.5.5. Poetry

5.6. Aesthetics and Reflection 

5.6.1. Positivist Aesthetics 
5.6.2. Idealist Aesthetics 
5.6.3. Critical Aesthetics 
5.6.4. Libertarian Aesthetics 

5.7. Aesthetics and Ethics 

5.7.1. Illustration 
5.7.2. Idealism 

5.7.2.1. Kant 
5.7.2.2. Schiller, Fichte, Schelling 
5.7.2.3. Hegel 

5.7.3. Romanticism 

5.7.3.1. Kierkegaard, Schopenhauer y Wagner 
5.7.3.2. Nietzsche 

5.8. Aesthetics and Taste 

5.8.1. Aesthetic Taste as an Illustrated Theoretical Statute 
5.8.2. A Taste for Impact 
5.8.3. The Aestheticization of Taste 

5.9. Contemporary Aesthetics 

5.9.1. Formalism 
5.9.2. Iconology 
5.9.3. Neoidealism 
5.9.4. Marxism 
5.9.5. Pragmatism 
5.9.6. Noucentisme 
5.9.7. Raciovitalism 
5.9.8. Logical Empiricism 
5.9.9. Semiotics 
5.9.10. Phenomenology 
5.9.11. Existentialism 
5.9.12. Postmodern Aesthetics 

5.10. Aesthetic Categories 

5.10.1. Beauty 
5.10.2. Ugliness 
5.10.3. Sublime 
5.10.4. Tragic 
5.10.5. Comical 
5.10.6. Grotesque

Module 6. History of Fashion 

6.1. From Clothing to Fashion 

6.1.1. New Context and Social Change 
6.1.2. Women's Liberation 
6.1.3. New Concept of Fashion Designer 
6.1.4. Beginning of 20th Century

6.2. The Modern Clothing 

6.2.1. The Modern Clothing 
6.2.2. The Rise of the American Designers 
6.2.3. The London Scene 
6.2.4. New York in the 70s 
6.2.5. 80s Fashion 
6.2.6. Multi-Brand Luxury Groups
6.2.7. A Functional Fashion 
6.2.8. Activewear 
6.2.9. Fashion, Art and Pop Culture 
6.2.10. Celebrities 
6.2.11. Photography and the Internet 

6.3. Great Masters of Fashion 

6.3.1. Jeanne Lanvin 
6.3.2. Jeanne Paquin 
6.3.3. Emilie Flöge 
6.3.4. Madeleine Vionnet 
6.3.5. Gabrielle Chanel 
6.3.6. Elsa Schiaparelli 
6.3.7. Carolina Herrera 

6.4. Great Masters of Fashion 

6.4.1. Charles Frederick Worth 
6.4.2. Jacques Doucet 
6.4.3. Paul Poiret 
6.4.4. Cristóbal Balenciaga 
6.4.5. Christian Dior 
6.4.6. Karl Lagerfeld 
6.4.7. Alexander McQueen 

6.5. Haute Couture

6.5.1. History of Haute Couture 
6.5.2. Federation of Haute Couture and Fashion 
6.5.3. Members of the Federation
6.5.4. From Haute Couture to Ready-to-Wear

6.6. Crafts 

6.6.1. Weaving as Art 
6.6.2. Crafts That Complement Clothing 
6.6.3. Artists and Craftworkers Related to Fashion 

6.7. Fast-Fashion

6.7.1. History and Origin of Fast-Fashion 
6.7.2. Business Model of Fast-Fashion 
6.7.3. Consequences of Fast-Fashion on the World 

6.8. Advertising and Photography in Fashion 

6.8.1. Archetypes and Stereotypes 
6.8.2. The Fashion Image 
6.8.3. Visual Communication of Fashion 
6.8.4. The Great Fashion Photographers 

6.9. Repercussion of Fashion 

6.9.1. The Textile Industry 
6.9.2. Relationship of Art and Fashion 
6.9.3  Fashion and Society 

6.10. Fashion Theory and Criticism 

6.10.1. Current Designers and Their Influence 
6.10.2. Current Trends 
6.10.3. The Trivialization of Fashion 

Module 7. Styling

7.1. Introduction to Styling 

7.1.1. Aesthetics, Style, and Styling 
7.1.2. Analysis and Knowledge of the Fields of Styling 
7.1.3. The Role of the Stylist 
7.1.4. Communication in Fashion 
7.1.5. Digital Communication 

7.1.5.1. Social Media 
7.1.5.2. Influencers 
7.1.5.3. Bloggers 

7.1.6. Styling Organization and Production Methods 

7.2. Runway Styling 

7.2.1. What is a Fashion Show 
7.2.2. Objectives of a Fashion Show 
7.2.3. Main World Catwalks 
7.2.4. Preliminary Preparations 
7.2.5. The Team 
7.2.6. The Fitting
7.2.7. The Models 
7.2.8. Looks 
7.2.9. Music 
7.2.10. The Space 
7.2.11. Post-Event 

7.3. Audiovisual Styling 

7.3.1. The Cinema 
7.3.2. The Fashion Film
7.3.3. Showroom and Showrooming 
7.3.4. e-Commerce 

7.4. Dress Etiquette 

7.4.1. Formal Attire 
7.4.2. Informal Attire 
7.4.4. Sportswear 
7.4.5. Types of Etiquette 

7.5. Body Morphology and Colorimetry 

7.5.1. Body Typologies 
7.5.2. Body Silhouettes  
7.5.3. Color Theory Applied to Counseling 
7.5.4. Theory of The Seasons of the Year 
7.5.5. Color Classification 

7.6. Make-Up 

7.6.1. Introduction to Make-Up 
7.6.2. Make-Up Materials 
7.6.3. Make-Up Application 
7.6.4. Make-Up Styles 

7.7. Personal Shopper

7.7.1. What is a Personal Shopper? 
7.7.2. Process of Consultancy in Clothing and Accessories 
7.7.3. Characteristics of the Image Consultant 
7.7.4. How to Approach the Image Consultancy Process? 
7.7.5. Development of the Process: The Technical Documentation 
7.7.6. Study and Evaluation of The Client's Image 
7.7.7. Proposal to the Customer on the Adoption of New Aesthetic Models in Clothing
7.7.8. Methods for the Adoption of Aesthetic Patterns in Dressing 
7.7.9. Methods of Client Training 
7.7.10. Advice on the Purchase of Clothing and Accessories 

7.8. Dressing Style 

7.8.1. Prehistory and Ancient Age 

7.8.1.1. Prehistory 
7.8.1.2. Mesopotamia: Sumerians, Babylonians and Assyrians, Persians and Medes 
7.8.1.3. Egypt 
7.8.1.4. Crete: Minoan Civilization 
7.8.1.5. Greta 
7.8.1.6. Etruria 
7.8.1.7. Rome 
7.8.1.8. Byzantine Empire 

7.8.2. History of Clothing: Middle Ages and Renaissance 

7.8.2.1. Average Age 
7.8.2.2. Renaissance 

7.8.3. History of Clothing: Baroque and Rococo 

7.8.3.1. Baroque: 17th Century 
7.8.3.2. Rococo: 18th Century 

7.8.4. History of Clothing: 19th Century 

7.8.4.1. Historical Context 
7.8.4.2. Women's Clothing 
7.8.4.3. Men's Clothing 

7.8.5. History of Clothing: 20th Century 

7.8.5.1. Historical Context 
7.8.5.2. Clothing from 1900 to 1950 
7.8.5.3. Clothing from 1950 to 2000 

7.9. Garment Lexicon 

7.9.1. Hats and Caps 
7.9.2. Coats and Jackets 
7.9.3. Men's Suits 
7.9.4. Tie Knots 
7.9.5. Shirts 
7.9.6. T-Shirts 
7.9.7. Collars, Necklines and Collars 
7.9.8. Sleeves 
7.9.9. Pants 
7.9.10. Dresses 
7.9.11. Shoes 
7.9.12. Skirts 
7.9.13. Add-Ons 

7.10. Basic Clothing Styles 

7.10.1. Trends 
7.10.2. The Coolhunter 
7.10.3. Classic Style 
7.10.4. Avant-Garde Style 
7.10.5. Informal or Casual Style 
7.10.6. Bohemian Style 
7.10.7. Minimalist Style 
7.10.8. Retro or Vintage Style 
7.10.9. Oversized Style 
7.10.10. Feline or Lingerie Style 
7.10.11. Grunge Style 
7.10.12. Ethnic Style 
7.10.13. Hippie Style 
7.10.14. Punk Style 
7.10.15. Executive Style 
7.10.16. Gothic Style 
7.10.17. Safari Styles 
7.10.18. Military Style 
7.10.19. Folk Style 
7.10.20. Underground Style 
7.10.21. Other Styles 

Module 8. Fashion Marketing 

8.1. Fashion Marketing

8.1.1. Introduction to Fashion Marketing 
8.1.2. Definition of Marketing 
8.1.3. Marketing and Variables 

8.2. Market Research in Fashion 

8.2.1. Fashion Market Environment 
8.2.2. Market Structure 
8.2.3. Agents of the Industrial Process 
8.2.4. The International Market 

8.3. Strategies in the Fashion Markets 

8.3.1. Market Segmentation 
8.3.2. Product Positioning 
8.3.3. Market Research 
8.4. The Fashion Consumer 
8.4.1. The Fashion Consumer 
8.4.2. Buying Behavior 
8.4.3. Purchase Decision Process 

8.5. The Fashion Product 

8.5.1. The Fashion Product 
8.5.2. Product Life Cycle 
8.5.3. Brand Identity 

8.6. Fashion Pricing Policy 

8.6.1. The Price 
8.6.2. Costs 
8.6.3. Pricing 

8.7. Fashion Communication 

8.7.1. Product Communication and Promotion 
8.7.2. The Catwalk 
8.7.3. Trends 
8.7.4. Quality Control in the Process 

8.8. Fashion Distribution 

8.8.1. Distribution 
8.8.2. Logistics 
8.8.3. Sales Space 
8.8.4. Merchandising 

8.9. Fashion Marketing 

8.9.1. Strategic Marketing 
8.9.2. Marketing Planning 
8.9.3. Online Marketing 

8.10. Responsibility of Fashion Companies 

8.10.1. Corporate Social Responsibility 
8.10.2. Social Factors 
8.10.3. Marketing Professional Profile

Module 9. Magazines

9.1. What is a Magazine 

9.1.1. Introduction 
9.1.2. What is a Magazine. Its Specificities and the Publishing Market 
9.1.3. Specificities of the Magazine 
9.1.4. Magazine Market: General Issues 
9.1.5. Large Magazine Publishing Groups 

9.2. The Magazine Reader 

9.2.1. Introduction 
9.2.2. The Magazine Reader 
9.2.3. Finding and Building Reader Loyalty 
9.2.4. The Print Magazine Reader 
9.2.5. The Digital Magazine Reader 
9.2.6. Readership and Advertising 

9.3. Creation and Life of a Magazine 

9.3.1. Introduction 
9.3.2. The Creation of a Magazine 
9.3.3. The Name 
9.3.4. The Life Cycle of a Magazine 

9.4. Segmentation and Specialization of Magazines 

9.4.1. Introduction 
9.4.2. Segmentation and Specialization of Magazines 
9.4.3. Types of Magazine 

9.4.3.1. Cultural Magazines 
9.4.3.2. Gossip Magazines 
9.4.3.3. Supplements 

9.5. Structure and Contents of the Magazines 

9.5.1. Introduction 
9.5.2. The Heading 
9.5.3. Structure 
9.5.4. Contents 

9.6. Birth and Development of Magazines in Europe and the USA 

9.6.1. Introduction 
9.6.2. The Beginnings: Between the 16th and 18th Centuries. From the Relations to the Gazettes 
9.6.3. The 19th Century in Europe 
9.6.4. Balance of the 19th Century 

9.7. The Twentieth Century: The Consolidation of the Modern Magazine 

9.7.1. Introduction 
9.7.2. The First Decades of the Twentieth Century in European Magazines 
9.7.3. The United States Between the Twenties and the Sixties: The Second Magazine Boom 
9.7.4. Europe after the Second World War: Magazines from the 1940s Onwards 
9.7.5. From the 1960s Onwards: The Revamped Magazine 

9.8. Milestones in the History of American Magazines 

9.8.1. Introduction 
9.8.2. National Geographic, a Milestone in the History of Popular Magazines 
9.8.3. Time, a Milestone in Weekly Newsmagazines 
9.8.4. Reader's Digest, a Milestone in Magazine Magazines 
9.8.5. The New Yorker, a Milestone in Opinion and Culture Magazines 

9.9. Magazines in Europe 

9.9.1. Introduction 
9.9.2. Dissemination 
9.9.3. Top Magazines by Country 

9.10. Magazines in Latin America 

9.10.1. Introduction 
9.10.2. Origin 
9.10.3. Top Magazines by Country 

Module 10. Communication Channels in Fashion

10.1. Influence and Other Power Strategies in the New Digital Channels 

10.1.1. Power Strategies Linked to Fashion Communication
10.1.2. Influencing in the Field of Social Media 
10.1.3. Managing the New Digital Leaders: Fashion Influencers 

10.2. The Choice of the Communication Channel: Forrester Research Theory 

10.2.1. The New Public Opinion: Managing the Masses One by One 
10.2.2. What Is the Forrester Theory? 
10.2.3. Application of the Forrester Research Theory to the Fashion Industry 

10.3. The Power of Audiovisual Language and Nonverbal Communication 

10.3.1. The Growing Market Share of Non-Verbal Communication 
10.3.2. The Impact of the Audiovisual Message in Fashion 
10.3.3. Composition of the Photographic Discourse in Social Networks 

10.4. Evolution and Functioning of Social Networks in the Fashion Industry 

10.4.1. Stages of Emergence and Evolution of the Internet 
10.4.2. The Multichannel Strategy Within Fashion Social Media 
10.4.3. What is a Social Network? Differences with Traditional Channels 

10.5. Facebook, the Big Database 

10.5.1. Transversal Communication 
10.5.2. Community Interest 
10.5.3. Facebook Presence Models 

10.6. Instagram, Much More than Fashion Photos 

10.6.1. Emotional Messages and Empathy Management
10.6.2. The Intimacy of Everyday Life in Images 
10.6.3. Standing Out in the Most Important Social Network in Fashion 

10.7. Professional Content on LinkedIn 

10.7.1. Creating a Personal Brand 
10.7.2. Cognitive Messages in Fashion Branding 
10.7.3. Managing Relationships with Competitors 

10.8. The Politicization of Twitter 

10.8.1. Impulsive and Omnidirectional Communication 
10.8.2. The Direct Message and the Creation of Content in 20 Characters 
10.8.3. The Impact of Headlines: From Depth to Lightness 

10.9. TikTok, Beyond Generation Z 

10.9.1. The Audiovisual Revolution and the Acceleration of the Makeover in a Slow Fashion Context 
10.9.2. The Democratization in the Creation of Audiovisual Content 
10.9.3. Fashion as a Newsworthy and Newsworthy Event 

10.10. YouTube, as an Exponent of Audiovisual Content 

10.10.1. The Management of Expectations in the Creation of Audiovisual Content
10.10.2. Map of Contents on YouTube About Fashion, Beauty and Luxury 
10.10.3. New Trends in Public Opinion: The Microinfluencers 

A unique program that will give you the keys to develop successfully in the fashion industry"