Given all the possibilities you have today to communicate in the world of fashion, this Professional master’s degree in Fashion Journalism and Criticism will give you the keys to do so correctly, professionally and meticulously”

The Professional master’s degree in Fashion Journalism and Criticism aims to instruct students to approach the world of fashion with all the rigor and professionalism required in journalism, being able to have the appropriate knowledge to make a solid and comprehensive criticism of any style. The scope of the contents included in the program is of special interest at it covers not only the history of fashion, but its most influential figures or its role in the arts, as well.  

Therefore, students will delve into a variety of topics that will serve to approach the world of fashion in an unbiased and knowledgeable way, knowing its historical influence in humanistic fields. Throughout the course, all the stages of social expression in the form of dress will be covered, as well as the most relevant journalism fundamentals to know how to communicate all the intrinsic aspects of the field as thoroughly as possible. 

During this program the new forms of communication of the 21st century with respect to the world of fashion will be analyzed, examining the figure of the Influencer as the pivotal axis of modern disclosure. Social networks will also play a leading role, from the most popular such as YouTube or Facebook, to newer ones such as Tik Tok, which has seen a rapid growth in users. 

A Professional master’s degree with the added flexibility of being 100% online, as it adapts to students' obligations and schedules rather than the other way around. All the teaching material will be available throughout the program, and can be downloaded from any device with an Internet connection. 

You will learn the keys that have led Influencers, journalists and fashion critics to be acclaimed by the entire industry thanks to fluid and truthful communications” 

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

• Practical cases presented by experts in fashion with a focus on communication 
• 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 history of fashion and how to communicate it correctly 
• 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 

Societies evolve and fashion is the greatest reflection of this. Learn how to transmit your passion to others with this Professional master’s degree in Fashion Journalism and Criticism” 

The program’s teaching staff includes professionals from the industry who contribute their work experience to this program, as well as renowned specialists from leading societies and prestigious universities.  

The 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 immersive education programmed to learn in real situations.  

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

Delve into the facts and truths that have made fashion such an important industry in society"

Study icons such as Coco Chanel or Christian Dior and discover the keys that led them to be vectors of change in an ever-developing field"

Composed of 10 modules, which in turn are divided into a multitude of specific topics, this Professional master’s degree includes all the substantial and complementary information for students to learn the reality of the fashion world from a broad and conscientious perspective. This is a unique opportunity for students to project their careers to higher professional levels and wider audiences, which demands all the specialized knowledge that this program provides. 

A syllabus that covers a multitude of different areas with which you can become an expert in fashion and communication” 

Module 1. History of Clothing

1.1. Prehistory 

1.1.1. Introduction 
1.1.2. Prehistoric Civilizations 
1.1.3. Trade in Prehistoric Times 
1.1.4. Costume in Prehistoric Times 
1.1.5. Furs and Furshops 
1.1.6. Fabrics and Techniques 
1.1.7. Chronological Concordances and Similarities in Prehistoric Clothing 

1.2. Ancient Times: Egypt and Mesopotamia 

1.2.1. Egypt 
1.2.2. The Assyrian People 
1.2.3. The Persian People 

1.3. Ancient Times: Classical Greece 

1.3.1. Cretan Clothing 
1.3.2. The Fabrics Used in Ancient Greece 
1.3.3. Ancient Greek Garments 
1.3.4. Ancient Greek Undergarments 
1.3.5. Ancient Greek Footwear 
1.3.6. Ancient Greek Hats and Headdresses 
1.3.7. Colors and Ornaments of Ancient Greece 
1.3.8. Accessories of Ancient Greece 

1.4. Ancient Times: the Roman Empire 

1.4.1. The Fabrics of Ancient Rome 
1.4.2. The Garments of Ancient Rome 
1.4.3. Undergarments of Ancient Rome 
1.4.4. Footwear of Ancient Rome 
1.4.5. Ancient Roman Hats and Headdresses 
1.4.6. Relationship of Social Status and Clothing in Ancient Rome 
1.4.7. The Byzantine Style 

1.5. High Middle Ages and Low Middle Ages 

1.5.1. General Historical Features of the Medieval Period 
1.5.2. Clothing at the Beginning of the Middle Ages 
1.5.3. Clothing in the Carolingian Period 
1.5.4. Clothing in the Romanesque Period 
1.5.5. The Gothic Clothing 

1.6. The Modern Age: Renaissance, Baroque and Rococo. 

1.6.1. 15th  16th Century:  Renaissance 
1.6.2. 17th Century: Baroque Period 
1.6.3. 18th Century: Rococo 

1.7. Contemporary Age: Neoclassicism and Romanticism 

1.7.1. The Clothing Industry 
1.7.2. Charles Frederick Worth
1.7.3. Jacques Doucet 
1.7.4. Women's Clothing 
1.7.5. Josephine Bonaparte: The Empire Style 

1.8. Contemporary Age: Victorian Era and Belle Époque 

1.8.1. Queen Victoria 
1.8.2. Men's Clothing 
1.8.3. Dandy 
1.8.4. Paul Poiret 
1.8.5. Madeleine Vionnet 

1.9. Contemporary Age: From Clothing to Fashion 

1.9.1. New Context and Social Change 
1.9.2. Fashion Designers  
1.9.3. Coco Chanel 
1.9.4. The New Look 

1.10. Contemporary Age: The Century of Designers and Fashion 

1.10.1. The Modern Clothing 
1.10.2. The Rise of the American Designers 
1.10.3. The London Scene 

Module 2. History of the Great Female Fashion Designers 

2.1. Jeanne Lanvin 

2.1.1. Biography 
2.1.2. Context 
2.1.3. Works and Contributions 

2.2. Jeanne Paquin 

2.2.1. Biography 
2.2.2. Context 
2.2.3. Works and Contributions 

2.3. Emilie Flöge  

2.3.1. Biography 
2.3.2. Context 
2.3.3. Works and Contributions 

2.4. Madeleine Vionnet  

2.4.1. Biography 
2.4.2. Context 
2.4.3. Works and Contributions 

2.5. Gabrielle Chanel 

2.5.1. Biography 
2.5.2. Context 
2.5.3. Works and Contributions 

2.6. Elsa Schiaparelli  

2.6.1. Biography 
2.6.2. Context 
2.6.3. Works and Contributions 

2.7. Carolina Herrera 

2.7.1. Biography 
2.7.2. Context 
2.7.3. Works and Contributions 

2.8. Miuccia Prada 

2.8.1. Biography 
2.8.2. Context 
2.8.3. Works and Contributions 

2.9. Donatella Versace  

2.9.1. Biography 
2.9.2. Context 
2.9.3. Works and Contributions 

2.10. Stella McCartney  

2.10.1. Biography 
2.10.2. Context 
2.10.3. Works and Contributions 

Module 3. History of Fashion 

3.1. From Clothing to Fashion 

3.1.1. New Context and Social Change 
3.1.2. Women's Liberation 
3.1.3. New Concept of Fashion Designer 
3.1.4. Beginning of the 20th Century 

3.2. Modern Clothing 

3.2.1. Modern Clothing 
3.2.2. The Rise of American Designers 
3.2.3. The London Scene  
3.2.4. New York in the 70s 
3.2.5. Fashion Trends of the 80s
3.2.6. Multi-Brand Luxury Groups 
3.2.7. Functional Fashion 
3.2.8. Activewear 
3.2.9. Fashion, Art and Pop Culture 
3.2.10     Celebrities 
3.2.11. Photography and the Internet 

3.3. Great Masters of Fashion 

3.3.1. Jeanne Lanvin  
3.3.2. Jeanne Paquin  
3.3.3. Emilie Flöge  
3.3.4. Madeleine Vionnet 
3.3.5. Gabrielle Chanel  
3.3.6. Elsa Schiaparelli  
3.3.7. Carolina Herrera 

3.4. Great Masters of Fashion 

3.4.1. Charles Frederick Worth  
3.4.2. Jacques Doucet  
3.4.3. Paul Poiret 
3.4.4. Cristóbal Balenciaga 
3.4.5. Christian Dior 
3.4.6. Karl Lagerfeld 
3.4.7. Alexander McQueen 

3.5. Haute Couture 

3.5.1. History of Haute Couture 
3.5.2. Federation of Haute Couture and Fashion 
3.5.3. Members of the Federation     
3.5.4. From Haute Couture to Prêt-à-Porter 

3.6. Crafts 

3.6.1. Fabric as Art 
3.6.2. Crafts that Complement Clothing 
3.6.3. Artists and Artisans Related to Fashion 

3.7. Fast Fashion 

3.7.1. History and Origin of Fast Fashion
3.7.2. Fast Fashion Business Model 
3.7.3. Fast Fashion ‘s Impact on the World 

3.8. Advertising and Photography in Fashion 

3.8.1. Archetypes and Stereotypes 
3.8.2. The Fashion Look 
3.8.3. Visual Communication of Fashion 
3.8.4. The Great Fashion Photographers 

3.9. Repercussion of Fashion 

3.9.1. The Textile Industry 
3.9.2. Relationship between Art and Fashion 
3.9.3. Fashion and Society 

3.10. Fashion Theory and Criticism 

3.10.1. Current Designers and Their Influence 
3.10.2. Current Trends 
3.10.3. The Trivialization of Fashion 

Module 4. The Relationship between Fashion and Art 

4.1. Perception and Analysis of Works of Art 

4.1.1. Works of Art in Historical Context 
4.1.2. The Italian Trecento  
4.1.3. The Italian Quattrocento 

4.2. Bases of Modern Dress 

4.2.1. The Economic Boom: Dynamism and Specialization of Fashion Crafts 
4.2.2. Consolidation of Monarchies 

4.2.2.1. Princely Courts 
4.2.2.2. Burgundy 
4.2.2.3. Crown of Aragon 

4.2.3. Cultural and Social Factors 

4.2.3.1. Class Rivalry 
4.2.3.2. New Love Relationships 

4.3. The Rise of Commerce 

4.3.1. The Italian Cinquecento 
4.3.2. Spanish Dominance  
4.3.3. Rise of Commerce: The Mercantile and Financial Bourgeoisie 
4.3.4. Beginnings of the Industrial Revolution. (The 17th and 18th Centuries) 

4.4. Production 

4.4.1. Baroque Painting and Sculpture 
4.4.2. Rococo Painting and Sculpture 
4.4.3. Organization and Situation of the First State Manufactures in Europe  
4.4.4. The Situation of Mediterranean Countries in the Economic Crisis of the 17th Century 
4.4.5. The Situation of Protestant Countries in the Economy of the 17th Century 

4.5. The Enlightenment 

4.5.1. Development and Influences of French Policy in 17th Century Europe 
4.5.2. The Political and Religious Consequences of the Enlightenment 
4.5.3. Technological and Scientific Advances in the 18th Century 
4.5.3.1. Influences on Society and Economy 

4.6. The Origin of Fashion Design 

4.6.1. The Great Consumers of the 19th Century: Confusion in Clothing 
4.6.2. Imitation and Competitive Differentiation between Social Classes 
4.6.3. Romantic and Realistic Painting 
4.6.4. The Origin of Fashion Design 
4.6.5. Painting and Ornamental Renovation of the 2nd Half of the 19th Century 

4.7. Industrial Revolution 

4.7.1. Impressionists and Post-Impressionists  
4.7.2. Changes in Political and Social Structures after the French Revolution 
4.7.3. Socio-Economic Transformations brought about by the First Industrial Revolution 
4.7.4. The First Industrial Revolution 
4.7.5. The Second Industrial Revolution: Great Capitalism 
4.7.6. Bourgeoisie and Proletariat in the 19th Century 

4.8. Modern Art 

4.8.1. The Beginning of the 20th Century 
4.8.2. Cubism 
4.8.3. Expressionism  
4.8.4. Surrealism 
4.8.5. Neoplasticism 
4.8.6. Russian Constructivism 
4.8.7. The Modernist Movement 
4.8.8. The Popularization of Fashion 
4.8.9. The Century of Fashion Designers 

4.9. Postmodernity 

4.9.1. Post-Pictorial Abstraction 
4.9.2. Optical Art 
4.9.3. Minimal Art 
4.9.4. Pop Art 
4.9.5. Technology Development 
4.9.6. Postmodernity 
4.9.7. Women’s Situation during World War I 

4.10. Globalization 

4.10.1. Cultural and Sexual Changes in the 1950s, 60s and 70s 
4.10.2. The American Way of Life 
4.10.3. Technological and Scientific Advances after World War II 

Module 5. History of the Great Male Fashion Designers 

5.1. Charles Frederick Worth 

5.1.1. Biography 
5.1.2. Context 
5.1.3. Works and Contributions 

5.2. Jacques Doucet 

5.2.1. Biography 
5.2.2. Context 
5.2.3. Works and Contributions 

5.3. Mariano Fortuny  

5.3.1. Biography 
5.3.2. Context 
5.3.3. Works and Contributions 

5.4. Paul Poiret 

5.4.1. Biography 
5.4.2. Context 
5.4.3. Works and Contributions 

5.5. Jean Patou 

5.5.1. Biography 
5.5.2. Context 
5.5.3. Works and Contributions 

5.6. Cristóbal Balenciaga 

5.6.1. Biography 
5.6.2. Context 
5.6.3. Works and Contributions 

5.7. Christian Dior 

5.7.1. Biography 
5.7.2. Context 
5.7.3. Works and Contributions 

5.8. Karl Lagerfeld 

5.8.1. Biography 
5.8.2. Context 
5.8.3. Works and Contributions 

5.9. Yves Saint Laurent 

5.9.1. Biography 
5.9.2. Context 
5.9.3. Works and Contributions 

5.10. Alexander McQueen 

5.10.1. Biography 
5.10.2. Context 
5.10.3. Works and Contributions 

Module 6. Fundamentals of Journalism 

6.1. Definition and Types of Newspapers 

6.1.1. Introduction: The Study of Communication as a Social Science 
6.1.2. Key Concepts: Communication, Information and Journalism 
6.1.3. The Media and Its Relationship with the Community 
6.1.4. Newspapers and Their Relationship with Other Media 
6.1.5. Definition and Characteristics of the Journal 

6.1.5.1. History  
6.1.5.2. Themes 
6.1.5.3. Selling Price 
6.1.5.4. Format 

6.1.6. The Contents of the Journal 

6.1.6.1. Sections 

6.2. Main Journalistic Tools 

6.2.1. Introduction 
6.2.2. Main Journalistic Tools 
6.2.3. Selection Criteria 

6.2.3.1. What Are They? 
6.2.3.2. Classification 
6.2.3.3. Relationship with the Present Time 

6.3. Elements of the Newspaper 

6.3.1. Introduction 
6.3.2. Elements of the Newspaper 
6.3.3. Different Elements 

6.4. Journalists and Their Journalistic Skills or Abilities 

6.4.1. Introduction 
6.4.2. Journalists and Their Journalistic Skills or Abilities 
6.4.3. Debate on the Journalistic Profession 
6.4.4. Attitudes 

6.4.4.1. Practical Attitudes 
6.4.4.2. Intellectual and Moral Attitudes 

6.5. The Organization of a Newspaper 

6.5.1. Introduction 
6.5.2. Two Structures in One: the Company and the Newsroom 
6.5.3. Editorial Principles 
6.5.4. Editorial Statutes 
6.5.4.1. Editorial Roles 
6.5.5. Epilogue: From the Digital Version to the Digital Edition 

6.6. Journalistic Work 

6.6.1. Introduction 
6.6.2. Journalistic Work 
6.6.3. What Is an Editorial Department and How Is It Organized? 
6.6.4. On a Daily Basis 
6.6.5. Long-Term Planning 
6.6.6. Individual and Collective Work 

6.6.6.1. Individual Work 
6.6.6.2. Collective Work 
6.6.6.3. Style Books 

6.7. Journalistic Ethics 

6.7.1. Introduction 
6.7.2. Origin and Historical Evolution 

6.7.2.1. The Hutchins Report 
6.7.2.2. The McBride Report 

6.7.3. A Way to Regulate the Profession 
6.7.4. Functions of Self-Regulation 
6.7.5. Codes of Ethics 

6.8. Types of Journalism 

6.8.1. Introduction 
6.8.2. Investigative Journalism 

6.8.2.1. Qualities of the Investigative Journalist 
6.8.2.2. Williams Scheme 
6.8.2.3. Research-Innovation Techniques 

6.8.3. Precision Journalism 

6.8.3.1. Specializations of Precision Journalism 

6.8.4. Service Journalism 

6.8.4.1. Thematic Features 

6.8.5. Journalistic Specialization 
6.8.6. Development of Specialized Information 

6.9. Journalism and Rhetoric 

6.9.1. Introduction 
6.9.2. Information-Opinion Separation 
6.9.3. Theories of Journalistic Genres 
6.9.4. Contributions of Rhetoric 
6.9.5. The Elocutio or Elocution 

6.10. Journalism as a Political Actor 

6.10.1. Introduction 
6.10.2. The Newspaper According to Theoreticians 
6.10.3. The Newspaper, Actor of Conflict 

6.10.3.1. The Newspaper as Communication 
6.10.3.2. The Newspaper at the Extra, Inter and Intra Levels 

6.10.4. The Newspaper as Peacemaker 

6.10.4.1. Alarm Mechanism 
6.10.4.2. Creator of Atmospheres, Mobilizer for Peace 

6.10.5. The Newspaper as a Complex Problem-Creation and Problem-Solving System 
6.10.6. The Newspaper as a Missionary Institution 
6.10.7. The Newspaper as the Apex of a Triangle of Love-Hate Relationships 
6.10.8. The Newspaper as a Narrator and Participant in Conflicts 

6.11. Journalism as a Social Actor 

6.11.1. Introduction 
6.11.2. The Newspaper as Interpreter and Mediator 
6.11.3. The Newspaper as a Member of the Political System and as a Parapolitical System 
6.11.4. The Newspaper as Informer and Pseudo-Political Communicator 
6.11.5. The Newspaper as an Addressee of the Communication Policies of Other Social Actors 

Module 7. Fashion and Luxury Journalism 

7.1. Communication in the Specialized Press   

7.1.1. The Media Specialized in Fashion and Beauty, the Women's Press    
7.1.2. The Role of the Communication Agency in Communication    
7.1.3. The Current Value of the Offline Press    

7.2. Evolution of Communication Models in PR 

7.2.1. Concept of Public Relations    
7.2.2. Theoretical Approach to Classic PR Models (Grunig and Hunt)   
7.2.3. Towards a New Approach to PR, the 5th Model    

7.3. Persuasive Communication in PR   

7.3.1. Persuasive and Informative Components of PR    
7.3.2. Differentiation between Public Relations and Journalistic Activity    
7.3.3. The Role of PR vs. the Role of Marketing and Advertising    

7.4. Tools for Communicating with the Press    

7.4.1. The Press Office and How It Works   
7.4.2. Useful Press Materials    
7.4.3. How to Construct an Effective Press Release   

7.5. Fashion and Beauty Communication Planning and Strategy    

7.5.1. Preliminary Study: Briefing Analysis   
7.5.2. The RACE Method   
7.5.3. The Communication Plan           

7.6. Communication Actions and Events for Fashion & Beauty    

7.6.1. Types of Communication in the Service of Brands  
7.6.2. Criteria for Selecting Communication Actions    
7.6.3. Design of Activities and Agenda Setting in Beauty and Fashion   

7.7. Measuring Results   

7.7.1. The Need to Monitor Public Relations   
7.7.2. Classic Quantitative Measurement Tools: Clipping and VPE   
7.7.3. The Importance of Qualitative Valuation   

7.8. Mistakes to Avoid in the Communication and PR Sector   

7.8.1. Downplaying the Importance of the Media   
7.8.2. Excessive Content and Lack of Relevance   
7.8.3. Improvisation vs. Planning   

7.9. Ethics and Psychosocial Perspectives   

7.9.1. Public Relations in the 21st Century: Between Progress and Social Welfare   
7.9.2. Social Responsibility and Public Relations   
7.9.3. Ethics of PR: Self-Awareness, Independence, and Commitment    

7.10. Latest Trends and Studies in Public Relations   

7.10.1. The New PR, More "Social" than Ever Before    
7.10.2. Emotional Communication and Neuromarketing   
7.10.3. Key Insights of Current Consumers   

Module 8. Magazines  

8.1. What is a Magazine  

8.1.1. Introduction   
8.1.2. What is a Magazine. Its Specificities and the Publishing Market   
8.1.3. Specificities of the Magazine   
8.1.4. Magazine Market: General Issues   
8.1.5. Large Magazine Publishing Groups  

8.2. The Magazine Reader  

8.2.1. Introduction   
8.2.2. The Magazine Reader   
8.2.3. Finding and Building Reader Loyalty   
8.2.4. The Print Magazine Reader   
8.2.5. The Digital Magazine Reader   
8.2.6. Readership and Advertising  

8.3. Creation and Life of a Magazine  

8.3.1. Introduction   
8.3.2. The Creation of a Magazine   
8.3.3. The Name   
8.3.4. The Life Cycle of a Magazine  

8.4. Segmentation and Specialization of Magazines  

8.4.1. Introduction 
8.4.2. Segmentation and Specialization of Magazines   
8.4.3. Types of Magazine   

8.4.3.1. Cultural Magazines 
8.4.3.2. Gossip Magazines 
8.4.3.3. Supplements 

8.5. Structure and Contents of the Magazines  

8.5.1. Introduction 
8.5.2. The Manchette  
8.5.3. Structure 
8.5.4. Contents 

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

8.6.1. Introduction  
8.6.2. The Beginnings: Between the 16th and 18th Centuries. From the Relations to the Gazettes   
8.6.3. The 19th Century in Europe   
8.6.4. Balance of the 19th Century  

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

8.7.1. Introduction   
8.7.2. The First Decades of the Twentieth Century in European Magazines   
8.7.3. The United States Between the Twenties and the Sixties: The Second Magazine Boom   
8.7.4. Europe after the Second World War: Magazines from the 1940s Onwards   
8.7.5. From the 1960s Onwards: the Revamped Magazine  

8.8. Milestones in the History of American Magazines  

8.8.1. Introduction   
8.8.2. National Geographic, a Milestone in the History of Popular Magazines   
8.8.3. Time, a Milestone in Weekly Reports or News Magazines 
8.8.4. Reader's Digest, a Milestone in Magazine Magazines   
8.8.5. The New Yorker, a Milestone in Opinion and Culture Magazines  

8.9. Magazines in Europe  

8.9.1. Introduction   
8.9.2. Difusion   
8.9.3. Top Magazines by Country  

8.10. Magazines in Latin America    

8.10.1. Introduction   
8.10.2. Origin   
8.10.3. Top Magazines by Country 

Module 9. Fashion Communication Channels  

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

9.1.1. Power Strategies Linked to Fashion Communication.   
9.1.2. Influencing in the Field of Social Media   
9.1.3. Managing the New Digital Leaders: Fashion Influencers   

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

9.2.1. The New Public Opinion: Managing the Masses One by One   
9.2.2. What is the Forrester Theory?  
9.2.3. Application of the Forrester Research Theory to the Fashion Industry   

9.3. The Power of Audio-Visual Language and Non-Verbal Communication   

9.3.1. The Growing Market Share of Non-Verbal Communication   
9.3.2. The Impact of the Audiovisual Message in Fashion  
9.3.3. Composition of the Photographic Discourse in Social Networks   

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

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

9.5. Facebook, the Big Database   

9.5.1. Transversal Communication   
9.5.2. Community Interest    
9.5.3. Facebook Presence Models    

9.6. Instagram, Much More than Fashion Photos   

9.6.1. Emotional Messages and Empathy Management   
9.6.2. The Intimacy of Everyday Life in Images   
9.6.3. Standing Out in the Most Important Social Network in Fashion   

9.7. Professional Content on LinkedIn  

9.7.1. Creating a Personal Brand   
9.7.2. Cognitive Messages in Fashion Branding   
9.7.3. Managing Relationships with Competitors   

9.8. The Politicization of Twitter   

9.8.1. Impulsive and Omnidirectional Communication   
9.8.2. The Direct Message and the Creation of Content in 20 Characters    
9.8.3. The Impact of Headlines: From Depth to Lightness   

9.9. TikTok, Beyond Generation Z   

9.9.1. The Audiovisual Revolution and the Acceleration of the Makeover in a Slow Fashion Context   
9.9.2. The Democratization in the Creation of Audiovisual Content   
9.9.3. Fashion as a Newsworthy and Newsworthy Event   

9.10. YouTube, an Exponent of Audiovisual Content   

9.10.1. The Management of Expectations in the Creation of Audiovisual Content   
9.10.2. Content Map of Fashion, Beauty and Luxury Content on YouTube   
9.10.3. New Trends in Public Opinion: The Microinfluencers  

Module 10. Psychology of Communication  

10.1. History of Psychology 

10.1.1. Introduction 
10.1.2. We Begin with the Study of Psychology 
10.1.3. Science in Evolution. Historical and Paradigmatic Changes 
10.1.4. Paradigms and Stages in Psychology 
10.1.5. Cognitive Science 

10.2. Social Psychology   

10.2.1. Introduction 
10.2.2. Beginning with the Study of Social Psychology: The Influence of Social Psychology 
10.2.3. Empathy, Altruism and Helping Behavior 

10.3. Social Cognition 

10.3.1. Introduction 
10.3.2. Thinking and Knowing, Vital Necessities 
10.3.3. Social Cognition 
10.3.4. Organizing Information 
10.3.5. Prototypical or Categorical Thinking 
10.3.6. Mistakes in Thinking: Inferential Biases 
10.3.7. Automatic Information Processing 

10.4. Personality Psychology 

10.4.1.  Introduction 
10.4.2. What is the Self? Identity and Personality 
10.4.3. Self-Awareness 
10.4.4. Self-Esteem 
10.4.5. Self-Knowledge 
10.4.6. Interpersonal Variables in Personality Shaping 
10.4.7. Macro-Social Variables in the Configuration of Personality 
10.4.8. A New Perspective in the Study of Personality. Narrative Personality 

10.5. Emotions 

10.5.1. Introduction 
10.5.2. What Do People Talk about When They Get Excited?   
10.5.3. The Nature of Emotions 

10.5.3.1. Emotion as Preparation for Action 

10.5.4. Emotions and Personality 
10.5.5. From another Perspective. Social Emotions 

10.6. Psychology of Communication. Persuasion and Attitude Change 

10.6.1. Introduction 
10.6.2. Attitudes 
10.6.3. Historical Models in the Study of Persuasive Communication 
10.6.4. The Probability of Elaboration Model 
10.6.5. Communication Processes through the Media 
10.6.5.1. A Historical Perspective 

10.7. The Sender 

10.7.1. Introduction 
10.7.2. The Source of Persuasive Communication 
10.7.3. Source Characteristics. Credibility 
10.7.4. Source Characteristics. The Appeal 
10.7.5. Emitter Characteristics. The Power 
10.7.6. Processes in Persuasive Communication. Mechanisms Based on Primary Cognition 
10.7.7. New Processes in Communication. Mechanisms Based on Secondary Cognition 

10.8. The Message 

10.8.1. Introduction 
10.8.2. We Begin by Studying the Composition of the Message 
10.8.3. Types of Messages: Rational vs. Emotional Messages 
10.8.4. Emotional Messaging and Communication: Fear Inducing Messages 

10.9. The Receiver 

10.9.1.  Introduction 
10.9.2. The Role of the Recipient according to the Elaboration Probability Model 
10.9.3. Recipient Needs and Motives: Their Impact on Attitude Change 
10.9.4. Need for Esteem and Communication 

10.10. New Approaches to the Study of Communication 

10.10.1. Introduction 
10.10.2. Unconscious Processing of Information. Automatic Processes 
10.10.3. Measuring Automatic Processes in Communication 
10.10.4. First Steps in the New Paradigms 
10.10.5. Theories of Dual Processing Systems 

10.10.5.1. Main Limitations of Dual Systems Theories

You already have the attitude and passion to succeed in communication, now you just need the right skills to be a star in the world of fashion journalism and criticism”