With this Postgraduate diploma in Fashion Criticism , you will be able to form fully informed critiques of the great brands in design: Valentino, Balenciaga, Gucci or Dior”

As the world of fashion undergoes radical changes from one season to another, Fashion Critics have a great responsibility and weight within the industry, since they are the main link between big brands and their customers. Thus, critics are prestigious figures supported by a broad historical and social knowledge of everything in fashion. 

This Postgraduate diploma in Fashion Criticism aims to provide students with all the skills required to responsibly engage in fashion criticism from a professional perspective, as well as a full understanding of the fundamentals of journalism that will ensure proper and professional communications.  

This knowledge will allow students to distinguish themselves as critics of reputed prestige within their field, thanks to their professional expertise and specific studies of the history of fashion. 

The program is 100% online, so students have the freedom to adjust their study schedules to their own pace and interests, without the need to commute to a physical center or attend specific classes. The course load, which is greatly supported by audiovisual material, will be available at all times during the program from any device with an Internet connection.  

You will be among the fashion elite that connect the best designers with the general public”

This Postgraduate diploma in Fashion Criticism contains the most complete and up-to-date program on the market. Its most outstanding features are:  

• Practical cases presented by experts in fashion with a focus on criticism 
• The graphic, schematic and practical contents of the book provide theoretical and practical information on those disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on the importance of fashion and how to properly critique it 
• 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 

You will have privileged access to collections and pieces before anyone else, being able to comment and analyze them down to the smallest detail”

The program includes, in its teaching staff, professionals from the sector who bring to this program the experience of their work, in addition to recognized specialists from prestigious reference societies and universities.

Its multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive education programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby students must try to solve the different professional practice situations that arise throughout the program. For this purpose, students will be assisted by an innovative, interactive video system created by renowned and experienced experts.

You will be prepared to attend the most prestigious catwalks, with front row seats so you can see, analyze and detail all the collections presented"

Your career will take a leap forward into the world of fashion when your reviews are backed up by the knowledge you'll gain on this Postgraduate diploma"

This Postgraduate diploma is structured into three different modules, which cover all the teaching material along different subtopics within each module.
In an orderly and clear manner, students can easily access any of the modules and plan their training as they wish. In fact, the precision of the sections will facilitate studying the course load and resolving any doubts along the way. 

Concisely written, you will find in the syllabus your best ally to catapult your career in Fashion Criticism towards success”

Module 1. History of Fashion

1.1. From Clothing to Fashion 

1.1.1. New Context and Social Change 
1.1.2. Women's Liberation 
1.1.3. New Concept of Fashion Designer 
1.1.4. Beginning of the 20th Century 

1.2. The Modern Clothing 

1.2.1. The Modern Clothing 
1.2.2. The Rise of the American Designers 
1.2.3. The London Scene  
1.2.4. New York in the 70s 
1.2.5. Fashion Trends of the 80s 
1.2.6. Multi-Brand Luxury Groups
1.2.7. A Functional Fashion 
1.2.8. Activewear 
1.2.9. Fashion, Art and Pop Culture 
1.2.10. Celebrities 
1.2.11. Photography and the Internet 

1.3. Great Masters of Fashion 

1.3.1. Jeanne Lanvin
1.3.2. Jeanne Paquin  
1.3.3. Emilie Flöge  
1.3.4. Madeleine Vionnet 
1.3.5. Gabrielle Chanel  
1.3.6. Elsa Schiaparelli  
1.3.7. Carolina Herrera 

1.4. Great Masters of Fashion 

1.4.1. Charles Frederick Worth  
1.4.2. Jacques Doucet  
1.4.3. Paul Poiret 
1.4.4. Cristóbal Balenciaga 
1.4.5. Christian Dior 
1.4.6. Karl Lagerfeld 
1.4.7. Alexander McQueen 

1.5. Haute Couture 

1.5.1. History of Haute Couture 
1.5.2. Federation of Haute Couture and Fashion 
1.5.3. Members of the Federation     
1.5.4. From Haute Couture to Prêt-à-Porter 

1.6. Crafts 

1.6.1. Weaving as Art 
1.6.2. Crafts That Complement Clothing 
1.6.3. Artists and Craftworkers Related to Fashion 

1.7. Fast-Fashion 

1.7.1. History and Origin of Fast - Fashion 
1.7.2. Fast Fashion Business Model 
1.7.3. Fast Fashion’s   Impact on the World 

1.8. Advertising and Photography in Fashion 

1.8.1. Archetypes and Stereotypes 
1.8.2. The Fashion Image 
1.8.3. Visual Communication of Fashion 
1.8.4. The Great Fashion Photographers 

1.9. Repercussion of Fashion 

1.9.1. The Textile Industry 
1.9.2. Relationship of Art and Fashion 
1.9.3. Fashion and Society 

1.10. Fashion Theory and Criticism 

1.10.1. Current Designers and Their Influence 
1.10.2. Current Trends 
1.10.3. The Trivialization of Fashion 

Module 2. Fundamentals of Journalism 

2.1. Definition and types of Newspapers 

2.1.1. Introduction: The Study of Communication as a Social Science 
2.1.2. Key Concepts: Communication, Information and Journalism 
2.1.3. The Media and its Relationship with the Community 
2.1.4. Newspapers and Their Relationship with Other Media 
2.1.5. Definition and Characteristics of the Journal 

2.1.5.1. History  
2.1.5.2. Themes 
2.1.5.3. Selling Price 
2.1.5.4. Format 

2.1.6. The Contents of the Journal 

2.1.6.1. Sections 

2.2. Main Journalistic Tools 

2.2.1. Introduction 
2.2.2. Main Journalistic Tools 
2.2.3. Selection Criteria 

2.2.3.1. What are they? 
2.2.3.2. Classification 
2.2.3.3. Relationship With the Present Time 

2.3. Elements of the Newspaper 

2.3.1. Introduction 
2.3.2. Elements of the Newspaper 
2.3.3. Different Elements 

2.4. Journalists and Their Journalistic Skills or Abilities 

2.4.1. Introduction 
2.4.2. Journalists and Their Journalistic Skills or Abilities 
2.4.3. Debate on the Journalistic Profession 
2.4.4. Attitudes 

2.4.4.1. Practical Attitudes 
2.4.4.2. Intellectual and Moral Attitudes 

2.5. The Organization of a Newspaper 

2.5.1. Introduction 
2.5.2. Two Structures in One: The Company and the Newsroom 
2.5.3. Editorial Principles 
2.5.4. Editorial Statutes 

2.5.4.1. Editorial Roles 

2.5.5. Epilogue: From the Digital Version to the Digital Edition 

2.6. Journalistic Work 

2.6.1. Introduction 
2.6.2. Journalistic Work 
2.6.3. What Is an Editorial Department and How Is It Organized? 
2.6.4. On a Daily Basis 
2.6.5. Long-Term Planning 
2.6.6. Individual and Collective Work 

2.6.6.1. Individual Work 
2.6.6.2. Collective Work 
2.6.6.3. Style Books 

2.7. Journalistic Ethics 

2.7.1. Introduction 
2.7.2. Origin and Historical Evolution 

2.7.2.1. The Hutchins Commission 
2.7.2.2. The MacBride Report 

2.7.3. A Way to Regulate the Profession 
2.7.4. Functions of Self-Regulation 
2.7.5. Codes of Ethics 

2.8. Types of Journalism 

2.8.1. Introduction 
2.8.2. Investigative Journalism 

2.8.2.1. Qualities of The Investigative Journalist 
2.8.2.2. Williams Scheme 
2.8.2.3. Research-Innovation Techniques 

2.8.3. Precision Journalism 

2.8.3.1. Specializations of Precision Journalism 

2.8.4. Service Journalism 

2.8.4.1. Thematic Features 

2.8.5. Journalistic Specialization 
2.8.6. Development of Specialized Information 

2.9. Journalism and Rhetoric 

2.9.1. Introduction 
2.9.2. Information-Opinion Separation 
2.9.3. Theories of Journalistic Genres 
2.9.4. Contributions of Rhetoric 
2.9.5. The Elocutio or Elocution 

2.10. Journalism as a Political Actor 

2.10.1. Introduction 
2.10.2. The Newspaper According to Theoreticians 
2.10.3. The Newspaper, Actor of Conflict 

2.10.3.1. The Newspaper as Communication 
2.10.3.2. The Newspaper at the Extra, Inter and Intra levels

2.10.4. The Newspaper as Peacemaker 

2.10.4.1. Alarm Mechanism 
2.10.4.2. Creator of Atmospheres, Mobilizer for Peace 

2.10.5. The Newspaper as a Complex Problem-Creation and Problem-Solving System 
2.10.6. The Newspaper as a Missionary Institution 
2.10.7. The Newspaper as the Apex of a Triangle of Love-Hate Relationships 
2.10.8. The Newspaper as a Narrator and Participant in Conflicts 

2.11. Journalism as a Social Actor 

2.11.1. Introduction 
2.11.2. The Newspaper as Interpreter and Mediator 
2.11.3. The Newspaper as a Member of the Political System and as a Parapolitical System 
2.11.4. The Newspaper as Informer and Pseudo-Political Communicator 
2.11.5. The Newspaper as an Addressee of the Communication Policies of Other Social Actors 

Module 3. Magazines  

3.1. What is a Magazine  

3.1.1. Introduction   
3.1.2. What is a Magazine? Its Specificities and the Publishing Market   
3.1.3. Specificities of the Magazine   
3.1.4. Magazine Market: General Issues   
3.1.5. Large Magazine Publishing Groups  

3.2. The Magazine Reader  

3.2.1. Introduction   
3.2.2. The Magazine Reader   
3.2.3. Finding and Building Reader Loyalty   
3.2.4. The Print Magazine Reader   
3.2.5. The Digital Magazine Reader   
3.2.6. Readership and Advertising  

3.3. Creation and Life of a Magazine  

3.3.1. Introduction   
3.3.2. The Creation of a Magazine   
3.3.3. The Name   
3.3.4. The Life Cycle of a Magazine  

3.4. Segmentation and Specialization of Magazines  

3.4.1. Introduction 
3.4.2. Segmentation and Specialization of Magazines   
3.4.3. Types of Magazine   

3.4.3.1. Cultural Magazines 
3.4.3.2. Gossip Magazines 
3.4.3.3. Supplements          

3.5. Structure and Contents of the Magazines  

3.5.1. Introduction 
3.5.2. The Headline  
3.5.3. Structure 
3.5.4. Contents 

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

3.6.1. Introduction  
3.6.2. The Beginnings: Between the 16th and 18th Centuries. From the Relations to the Gazettes   
3.6.3. The 19th Century in Europe   
3.6.4. Balance of the 19th Century  

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

3.7.1. Introduction   
3.7.2. The First Decades of the Twentieth Century in European Magazines   
3.7.3. The United States Between the Twenties and the Sixties: The Second Magazine Boom   
3.7.4. Europe after the Second World War: Magazines from the 1940s Onwards   
3.7.5. From the 1960s Onwards: The Revamped magazine  

3.8. Milestones in the History of American Magazines  

3.8.1. Introduction   
3.8.2. National Geographic, a Milestone in the History of Popular Magazines   
3.8.3. Time, a Milestone in Weekly Reports or News Magazines   
3.8.4. Reader's Digest, a Milestone in Magazine Magazines   
3.8.5. The New Yorker, a Milestone in Opinion and Culture Magazines  

3.9. Magazines in Europe  

3.9.1. Introduction   
3.9.2. Dissemination   

With your perseverance to keep improving, you are guaranteed professional success. TECH offers you the best tools to continue climbing the professional ladder”