1

Course information

Name of the course: Summer School on Fashion Management

Instructor(s) / Lecturer(s): Annick Schramme

Guest lecturer(s), tutor(s): academics: Ian King (King’s College London), George Bouvier (executive

director at Academia Cerebra), Wandy Malem/ Angela Mc Robbie (Goldsmiths College University of

London), Franscesca Rinaldi (SDA Bocconi) Italy) , Karinna Nobs (British School of Fashion)

Professionals: Christine De Keersmaeker (Olswang advocatenbureau), Ann Berten (Raf Simons),

Anthony Verbaeys, Peter Wollaert (ITTCO), Tine Debo (Kipling – VF Europe)

Number of credits: 3

Number of contact hours: 60

Language of instruction: English

1. Prerequisites

At the start of this course the student should have acquired the following competences:

☒ Competences corresponding the final attainment level of secondary school

- An active knowledge of

☐ Dutch

☐ French

☒ English

☐ German

☐ Other languages:

☐ Explanation:

- A passive knowledge of

☐ Dutch

☐ French

☐ English

☐ German

☐Other languages:

☐ Explanation:

☒ General notion of the basic concepts of Management, Marketing, Finance and the fashion industry

☐ Specific prerequisites for this course:

2

2. Learning outcomes

Course specific learning outcomes

1. Knowledge of and insights in the structure of the fashion industry and its main drivers within

an evolving global context.

2. Knowledge of and insights in several dimensions of fashion management with an emphasis on

companies of both entrepreneurial fashion designers and high fashion and luxury brands:

business modelling, entrepreneurial techniques, finance in fashion, IP and regulation for

fashion, supply chain management, CSR and sustainability, marketing and promotion in

fashion.

3. Skills and competences in conceptualizing a business plan of a fashion company.

General learning outcomes in applied economics/ management

1. The participant is able to critically select, process and synthesize sources and scientific

literature on fashion management issues in a systematic way.

2. The participant can deploy his acquired knowledge in an independent and synthesizing manner

in order to prepare, take and follow up on management decisions in the fashion industry

(leadership)

3. The participant is able to communicate his / her business research and solutions to problems

in the fashion industry in an effective and convincing manner.

4. The participant acknowledges ethical and sustainable aspects of management in a globalizing

world and can integrate these in a global mindset.

The faculty of Applied Economics links learning outcomes to roles which participants must be able to

take on (cf. the model of a cut diamond). Intersecting this roles with the learning outcomes of this

summer school gives following combinations:

Analyzer The participant proves insight in the specific business context of the fashion industry and its economic relevance and societal impact globally. The participant is able to apply acquired knowledge to a specific business case of a fashion designer/ fashion entrepreneur.

Coordinator The participant can structure the dialectical and iterative process with the designer/ fashion entrepreneur, is open for feedback and can integrate this into the final result of his/ her paper.

Communicator The participant is able to write a clear business plan in which he /she demonstrates logical and analytical reasoning. The participant is able to engage in conversation with a designer on his/her business endeavors.

3

Inspirer The participant is able to substantiate his/ her insights in a convincing and inspiring manner.

Creator Based on the lectures, excursions, company visits, discussions, and academic literature,… and conversations/aspirations with the designer, the participant can formulate constructive insights and reflect on the designer’s business case.

Strategist The participant has a respectful attitude in a multicultural environment. The participant can take relevant societal issues (e.g. sustainability in terms of human and community development, and environmental concerns) and economic trends (e.g. globalization, development of e-commerce) into account when developing a strategic policy and asses their impact on fashion companies.

3. Course content

Both from a societal and economic perspective, fashion is an important business. It is a critical part of

the so-called creative industries and plays a significant role in the European economy. Across the globe,

fashion is a multi-trillion dollar industry employing an estimated 26 million people (Hines & Bruce

2007). Nonetheless this industry is confronted with a fast changing world, globalization, sustainability

issues, industry-disrupting technology,… In the past decades fashion companies have continuously

been experiencing dramatic transitions in their relation to consumers. In order to maintain a point of

differentiation, fashion brands increasingly have to seek new and innovative methods of capturing the

hearts, minds and wallets of savvy consumers. Fashion management studies these alterations and

innovations and tries to provide a mind-set and tools for strategy development in this industry.

This summer school gives a comprehensive overview of the many aspects of fashion management,

with an emphasis on both entrepreneurial fashion designers and high fashion and luxury brands. Main

topics are:

The fashion industry and system,

fashion business modeling and entrepreneurship,

enterprise management (IP, law, finance and investment, supply chain management),

CSR and sustainability in fashion,

fashion marketing and promotion (online marketing, retail-options, e-strategy, PR) and

HR and leadership in the fashion industry.

A mix of lectures, company visits, testimonials and debates held at the University of Antwerp focus on

management in a context of entrepreneurial fashion designers, while the classes at Institut Français

de la Mode (Paris) emphasize management and trends in the world of luxury brands. The courses are

4

a mixture of lectures from international academics and professionals within the fashion business,

exercises, cases, on-site visits in both Antwerp and Paris and lively group discussions.

Participants get an in-depth picture of the opportunities and pitfalls that organizations face when doing

business in fashion. During and after the summer school, participants work together with a fashion

designer/ entrepreneur to design a business plan for the practitioner’s case. With this exercise

participants apply their knowledge and insights acquired through the lectures, debates, study visits

and literature to an ‘in vivo’ case.

4. Teaching method and planned learning activities

4.1 Teaching method

- Class contact teaching

☒ Lectures

☒ Practice sessions

☐ Seminars/tutorials

☐ Laboratory sessions

☒ Skills training

☐ Practical language study

- Personal work

☒ Exercises

Assignments

☐ Individually

☒ In group

Case studies

☒ Individually

☒ In group

Paper

☒ Individually

☐ In group

☐ Directed self-study

☒ Excursions

☐ Internship

☐ Portfolio

5

- Project

☐ Individually

☐ In group

- Design studio

☐ Individually

☐ In group

☒ Guest lectures

4.2 Planned learning activities and teaching methods

Before the Summer School

By the end of July, the students will be updated on the outline of the summer school and the

assignment. For this assignment participants need to develop a business plan tailored to a real-life case

of a fashion designer / entrepreneur. We then encourage them to actively seek for a good business

case of a fashion designer/ entrepreneur in their network. If participants don’t know a good case, prof.

Schramme or the assistant can match students to a Belgian case (in cooperation with our partner

Flanders Fashion Institute, FFI), so the participant and the entrepreneur/designer can meet up during

the summer school. Every participant needs to know which case he/ she will discuss before the start

of the programme.

Classes, contact moments during the summer school

From 29 August till 2 September we'll stay at the University of Antwerp, where all courses focus on

entrepreneurial fashion designers. During the weekend we all head to Paris. At Institut Français de la

Mode we'll deepen our insights on management in luxury brands from 5 till 7 September.

In the Antwerp programme of lectures, visits and discussions, every day covers a specific topic of

fashion management in an entrepreneurial context (draft detailed programme see p. 7) :

Monday 29 August Fashion Industry

Tuesday 30 August Fashion Business Modelling & Entrepreneurship

Wednesday 31 August Fashion Financial Management & cash flow planning

Thursday 1 September Supply Chain Management & Sustainability in Fashion

Friday 2 September Fashion Marketing and Promotion

6

During the weekend the participants have time to work on their assignment (cf. infra) and time to

commute to Paris. From Monday 5 September until Wednesday 7 September, faculty of Institut de la

Mode will translate the topics ‘Fashion Industry’ and ‘Fashion Marketing and Promotion’ to the luxury

sector. Doing so, concepts of merchandising, brand narratives, consumer behavior and customer

service will be discussed in depth. (draft detailed programme see p.8)

The assignment during the summer school

During the summer school, students get the tools to work on their assignment and have time to work

on it and ask for feedback. The first day of the summer school, 29 August, the assignment will be more

elaborately amplified in the opening session by prof. Schramme. On Tuesday, the students will be

introduced in the concepts of business modelling. A first exercise is coupled to this class where prof.

Schramme and assistant will assist participants in laying the first building blocks of their business plan.

On Wednesday afternoon a workshop, given by Raf Vermeiren (consultant, former CultuurInvest), will

continue this exercise while adding financial aspects to business modelling. Furthermore, participants

have the week-end to discuss and conceive the business plan together with the designers/ fashion

entrepreneurs. On Monday evening we foresee a feedback session with prof. Schramme and assistant

on the development of the business plans. After the summer school we give the participants a month

to finalize their business plan. We foresee two more contact moments with the supervisor (live or by

Skype). Deadline for the poster and nota will be October 7, 2016. Participants are invited to present

their business plan to a panel of experts (with Raf Vermeiren (tbc)). This presentation may be live or

(for the non-Belgian students) by video conference. Students may expect written and oral feedback on

their exercise by the end of October 2016.

7

Monday 29 August Tuesday 30 August Wednesday 31 August Thursday 1 September Friday 2 September

THE FASHION INDUSTRY FASHION BUSINESS MODELLING &

ENTREPRENEURSHIP FASHION ENTERPRISE MANAGEMENT

SUPPLY CHAIN MANAGEMENT AND SUSTAINABILITY IN FASHION

FASHION MARKETING AND PROMOTION

8.30-19.30 8.30-19.00 8.30-18.00 8.30-18.00 8.30-20.30

8.30-9.00 Registrations at University of Antwerp

ENTREPRENEURSHIP OF INDEPENDANT FASHION DESIGNERS: Angela McRobbie

IP AND LAW FOR FASHION: Christine De Keersmaeker

SUPPLY CHAIN MANAGEMENT IN FASHION: Francesca Rinaldi ONLINE MARKETING STRATEGY AND

FLAGSHIPS: Karinna Nobbs

9.00-9.30

9.30-10.00 OFFICIAL OPENING: Annick Schramme (Academic Director) and getting to know

each other 10.00-10.30 Coffee break Coffee break

10.30-11.00 SEGMENTATION OF THE FASHION

SYSTEM: Annick Schramme

Break

FINANCE AND PREFINANCING IN FASHION: Ann Berten

CORPORATE SOCIAL RESPONSIBILITY (CSR): Peter Wollaert and Well Made, with reflections of Francesca Rinaldi

Coffee break

11.00-11.30

BUSINESS MODELLING: Walter van Andel E-STRATEGY AND E-COMMERCE: Gert

Vanderstraeten and Annick Schramme

11.30-12.00

12.00-12.30 Lunch

Walk to FFI

12.30-13.00 Lunch on the go Lunch Lunch at FFI (12.30-13.15) 13.00-13.30

FASHION TRENDS: PRESENT AND FUTURE: Ian King

Bus drive to company Lunch

13.30-14.00

FASHION INVESTMENTS: Antony Verbaeys

ACTION LEARNING TOUR ON SUSTAINABILITY IN FASHION: Plan C/Les

Rebelles d'Anvers, Katrien Van Hecke, FFI, Juttu, Anna Heylen, Atelier Doek.

14.00-14.30

FASHION PR: Trui Moerkerke 14.30-15.00 break

COMPANY VISIT: Van de Velde

15.00-15.30 FASHION TRENDS: PRESENT AND

FUTURE: Ian King 15.30-16.00 Coffee break Coffee break

16.00-16.30 break

GROUP 1: WORKSHOP FINANCIAL ASPECTS BUSINESS PLAN: Raf Vermeiren

GROUP 2: WORKSHOP DOMINANT LOGICS IN FASHION BUSINESS: Sofie

Jacobs

INDUSTRY TESTIMONIAL B2B MARKETS AND WHOLESALE: Bruno Pfalzgraf 16.30-17.00

FASHION IN ANTWERP: Walter Van Beirendonck, Ann Claes and A.

Schramme 17.00-17.30 Break

17.30-18.00

Bus drive back to Antwerp HR AND LEADERSHIP IN THE FASHION INDUSTRY: George Bouvier in discussion

with Gilles Rosier

18.00-18.30 OPENING RECEPTION AT ANTWERP'S

CITY HALL

18.30-19.00

19.00-19.30

19.30-20.00 CLOSING RECEPTION

20.00-20.30

This hour-to-hour programme can be subject to minor alterations.

8

Monday 5 September Tuesday 6 September Wednesday 7 September

9.00-20.00 9.00-18.00 9.00-17.00

9.00-9.15 Welcome: Nathalie Ruelle (IFM)

Brand Narratives Images: Benjamin Simenhauer

Group A:Visits Debrief: Eric Pestel Group B: Role of the artistic director: Jean-Marc

Chauve

9.15-9.30

9.30-9.45

9.45-10.00

French Luxury: Emilie Hammen (IFM)

10.00-10.15 Coffee break

10.15-10.30 Group A: Role of the artistic director: Jean-Marc Chauve Group B:Visits

Debrief: Eric Pestel 10.30-11.00

11.00-11.15 Coffee break

11.15-11.30

Merchandising in Luxury: Jean-François Mura (Independant fashion Consultant)

Coffee break

11.30-11.45 coffee break

Iconic Products: Sébastien Girard (founder at Icon Icon)

11.45-12.00

Luxury Consumption: Danièle Clutier (IFM) 12.00-12.30

12.30-12.45

12.45-13.00

Lunch 13.00-13.30

lunch Lunch

13.30-13.45

13.45-14.00 Luxury Customer Service: Eric Pestel (Owner at

Lookadok) Paris as luxury and fashion capital: David

Zajtmann (IFM)

14.00-14.30

Markets and actors of luxury: Franck Delpal (IFM)

14.30-14.45

14.45-15.00

Mystery Visits and visit luxury stores in Paris

15.00-15.15

Testimonial: Camille Villegas (Studio Designer)

15.15-15.30

15.30-16.00

16.00-16.15 coffee break

16.00-16.30

Testimonial: Thomas Aski 16.30-17.00 Handouts of certificates and goodbyes

17.00-17.30

17.30-18.00

Feedback session assignment

18.00-18.30

18.30-19.00

19.00-19.30

19.00-20.00

9

This hour-to-hour programme can be subject to minor alterations.

4.3 Facilities for working students

☒ No specific facilities

- Class contact teaching

☐ Lectures: recordings available by video link on Blackboard

☐ Practice sessions: free choice of group

☐ Seminars/tutorials: substitute assignment possible

☐ Laboratory sessions: free choice of group

☐ Skills training: free choice of group

☐ Practical language study: free choice of group

- Personal work

☐ In group: individual substitute assignment possible

- Directed self-study

☐ Blended learning with limited number of evening contacts

- Other:

5. Assessment method and criteria

5.1 Assessment method

☐ Only one assessment period, no second assesment possible for:

- Examination

☐ Written without oral presentation

☐ Written with oral presentation

☐ Written exam: electronical

☐ Oral without written preparation

☐ Oral with written preparation

☐ Closed book

☐ Open book

☐ Multiple choice

☐ Open-question

10

☐ Practical examination

- Continuous assessment

☐ Exercises

☐ Assignments

☐ Case studies

☐ (Interim) tests

☐ Process evaluation

☐ Participation in classroom activities

- Self-directed assessment

☐ Self-assessment

☐ Peer-assessment

- Written assignment

☒ With oral presentation

☐ Without oral presentation

☐ Project

- Portfolio

☐ Product portfolio

☐ Development portfolio

☐ Discussion-based exam

☒ Presentation

☐ Assessment of internship

☐ Jury

☐ Objective structured clinical examination

☐ Skill test

5.2 Assessment criteria

11

Learning Outcome Category Score

Very weak (1) Weak (2) Sufficient (3) Good (4) Excellent (5)

AN

ALY

ZER

The participant proves insight in the specific business context of the fashion industry and its economic relevance and societal impact globally. The participant is able to apply acquired knowledge to a specific business case of a fashion designer/ fashion entrepreneur

Lack of insight in the fashion industry or the context in which fashion companies operate. Lack of insights in the economic and societal impact of the fashion industry The offered knowledge during the summer school is not applied in the business plan.

Insufficient insight in the fashion industry or the context in which fashion companies operate. Lack of insights in the economic and societal impact of the fashion industry The offered knowledge during the summer school is insufficiently applied in the business plan.

Sufficient insight in the fashion industry or the context in which fashion companies operate. Lack of insights in the economic and societal impact of the fashion industry The offered knowledge during the summer school is sufficiently applied in the business plan.

Solid insight in the fashion industry or the context in which fashion companies operate. Lack of insights in the economic and societal impact of the fashion industry The offered knowledge during the summer school is well applied in the business plan.

Thorough insight in the fashion industry or the context in which fashion companies operate. Lack of insights in the economic and societal impact of the fashion industry The offered knowledge during the summer school is excellently applied in the business plan.

CO

OR

DIN

AT

OR

The participant can structure the dialectical and iterative process with the designer/ fashion entrepreneur, is open for feedback and can integrate this into the final result of his/her paper.

The business plan shows no signs of input or comments of the designer/ fashion entrepreneur. The result is a very generic business plan.

Input or comments of the fashion designer/ entrepreneur are only superficially integrated in the business plan. Several aspects of the business reality of the case are unclear, not substantiated on or irrelevant.

Input or comments of the fashion designer/ entrepreneur are integrated in the business plan to a basic level. The mentioned aspects of the business reality of the case are clear and relevant to the business plan.

Input or comments of the fashion designer/ entrepreneur are integrated in the business plan to a good level. The mentioned aspects of the business reality of the case are integrated in and relevant to the business plan.

The business plan is an excellently tailored plan to the business reality of the designer/ fashion entrepreneur. Input and comments of the designer/ entrepreneur are very well integrated into the business plan.

12

Learning Outcome Category Score

Very weak (1) Weak (2) Sufficient (3) Good (4) Excellent (5)

CO

MM

UN

ICA

TOR

The participant is able to write a clear business plan in which he /she demonstrates logical and analytical reasoning. The participant is able to engage in conversation with a designer on his/her business endeavors.

Lack of clarity and structure in the paper and presentation. Student makes many grammatical and spelling mistakes. The paper and presentation proof a lack of logical and analytical reasoning. The paper and presentation are to generic and no specific business elements (e.g. brand aspects, potential partners, retail channels,…) of the case are mentioned in the paper/ presentation

Insufficient clarity and structure in the paper and presentation. Student makes still to many grammatical and spelling mistakes. The paper and presentation proof basic logical and analytical reasoning: patterns of thought are vague, to narrow and the student deploys to many commonplaces. There is no coherence between patterns of thoughts. The paper and presentation are rather generic and specific business elements (e.g. brand aspects, potential partners, retail channels,…) do not match well with the reality of the case.

Sufficient clarity and structure in the paper and presentation. Student makes an acceptable amount of grammatical and spelling mistakes. The paper and presentation proof sufficient logical and analytical reasoning. The student dissects the complexity of a business plan in its different elements, though the coherence between the different elements isn’t clear. The paper and presentation proof insight in the specific business case. Specific business elements (e.g. brand aspects, potential partners, retail channels,…) are matched with the reality of the case.

Good clarity and structure in the paper and presentation. Student makes almost no grammatical and spelling mistakes. The paper and presentation proof good logical and analytical reasoning. The student dissects the complexity of a business plan in its different elements, and these elements are combined coherently. The paper and presentation proof good insights in the specific business case. Specific business elements (e.g. brand aspects, potential partners, retail channels,…) are well matched with the reality of the case.

Paper and presentation are very excellently brought and well structured. The academic English and spelling of the student are excellent. The paper and presentation proof profound logical and analytical reasoning. The student dissects the complexity of a business plan systematically in its different elements, and can rejoin these together excellently in a structured manner . The paper and presentation proof profound insights in the specific business case. Specific business elements (e.g. brand aspects, potential partners, retail channels,…) are excellently matched with the reality of the case.

INSP

IRER

The participant is able to substantiate his/ her insights in a convincing and inspiring manner.

The paper and presentation are not convincing, nor enthusiastically brought. The student doesn’t seem interested nor prepared.

The paper and presentation do not convince sufficiently, nor are they enthusiastically brought. The student is not sufficiently prepared.

The paper and presentation convince sufficiently and they are enthusiastically brought. The student is sufficiently prepared.

The paper and presentation are convincing and enthusiastically brought. The student is well prepared.

The paper and presentation are very convincing and inspiringly brought. The student is very well prepared.

CR

EAT

OR

Based on the lectures, excursions, company visits, discussions, and academic literature,… and conversations/aspirations with designer, the participant can formulate constructive insights and reflect on the designers business case.

The paper and presentation show no new insights.

An attempt was made to display personal insights, but the student demonstrates too little critical reflection and substantiate poorly on his/ her insights.

In the paper and presentation, own/personal insights are present. Nonetheless, insufficient critical reflection is displayed and is there room to elaborate further on these insights.

Own/ personal insights are present in de paper and presentation and they are well substantiated on and display good critical reflection. The personal insights are a valuable addition to the literature and classes.

The paper and presentation show exceptional reasoning in formulating their own views. The student introduces innovative concepts or reflects very critical on the study material and literature. The personal insights are very valuable additions to the literature and classes.

13

Learning Outcome Category Score

Very weak (1) Weak (2) Sufficient (3) Good (4) Excellent (5)

STR

ATE

GIS

T

The participant has a respectful attitude in a multicultural environment

Student has no respect for people with a different background and shows no interest at all in different environments / cultures.

Student has insufficient respect for people with a different background and shows little interest in different environments / cultures.

Student has sufficient respect for people with a different background and shows basic interest in different environments/ cultures.

Student has respect for people with a different background and is very open towards different environments/ cultures.

Student shows very much respect for people with a different background and wants to immerse completely in different environment/ cultures.

The participant can take relevant societal issues (e.g. sustainability in terms of human and community development, and environmental concerns) and economic trends (e.g. globalization, development of e-commerce) into account when developing a strategic policy and asses their impact on fashion companies.

Societal and economic trends and issues are only covered superficially and side by side, without any linkages. Little to no holistic thinking is present. These trends are not discussed in relation to their impact on the business plan of the fashion company.

Societal and economic trends and issues are insufficiently covered in relation to each other, although first glimpse of holistic thinking is present. These trends are only discussed superficially in relation to their impact on the business plan of the fashion company.

Societal and economic trends are sufficiently covered and discussed in a holistic manner. These trends are sufficiently discussed in their relation to their impact on the business plan of the fashion company and the functioning of the organization.

Societal and economic trends are discussed in a holistic manner and linkages are made between different trends. The impact of these trends on the business plan and functioning of the fashion company is well assessed and discussed.

Societal and economic trends are discussed in a very holistic manner and linkages are made between different trends. The impact of these trends on the business plan and functioning of the fashion company is very well assessed and discussed.

14

5.3 Additional information regarding the assessment

6. Study material

6.1 Required reading

Annick Schramme, Trui Moerkerke, Karinna Nobbs (2014), Fashion Management, Lannoo Campus,

Students use the course material that is provided by guest lecturers.

6.2 Optional reading

Bhardway V., Fairhurst A., (2010) Fast Fashion: Response to Changes in the Fashion Industry. In: The

International Review of Retail, Distribution and Consumer Research, 20 (1), 165-173.

Casadesus-Masanell R., Ricart J.E. (2011) How to Design a Winning Business Model. In: Harvard

Business Review 89 (1/2), 100-107.

Casadesus-Masanell R., Tarzijan J. (2012) When One Business Model isn’t enough. In: Harvard

Business Review 90 (1/2), 132-137.

Craik J. (2009) Fashion. The Key Concepts. Oxford: Berg Publishers

Guiette A., Jacobs S., Schramme A., Vandenbempt K., (2011a), Creatieve industrieën in Vlaanderen:

mapping en bedrijfseconomische analyse, Antwerp Management School/Flanders District of

Creativity.

Guiette A., Jacobs S., Schramme A., Vandenbempt K., (2011b), De creatieve industrieën in

Vlaanderen en hun drivers en drempels, Antwerp Management School/Flanders DC.

Jackson T., Shaw D., (2009), Mastering Fashion Marketing, Palgrave Macmillan Hampshire.

Jeffrey, M., Eans, N/. (2011) Costing for the Fashion Industry . Oxford: Berg.

Karra N. (2008), The UK Designer Fashion Economy, Value relationships – identifying barriers and

creating opportunities for business growth. Centre for Fashion Enterprise. Report commissioned for

NESTA.

15

Moons A., (2008), To be (in) or not to be (in): the constituting processes and impact indicators of the

Flemish designer fashion industry undressed. In: Symposium 1: Modus Operandi State of affairs in

current research on Belgian Fashion. MoMu - Fashion Museum Antwerp, p.69-82.

Osterwalder A., Pigneur Y., (2013) Business Model Generation. Hoboken: John Wiley & Sons.

Reamy D.W., Arrington D.W. (2012) Fashionomics, The Fashion Industry from a Business Perspective.

Prentice Hall PTR.

Sterlacci F., Arbuckle J., (2009), The A to Z of the Fashion Industry, The Scarecrow Press, Lanham.

Teece, D.J. (2010), Business models, business strategy and innovation. In: Long Range Planning? 43

(2-3), 172-194.

Tungate M., (2008), Fashion Brands, Branding Style from Armani to Zara. 2nd edition, Kogan Page

London & Philadelphia.

Van Andel W., Vandenbempt K. (2012) Creative Jumpers. Businessmodellen van groeiondernemingen in creatieve industrieën. Acco.

7. Contact information and guidance

Prof. dr. Annick Schramme

Annick.schramme@uantwerpen.be

+32 477 37 39 47

8. Tutoring

9. Use of Blackboard

☒ Offering information

☒ Communication

☐ Practicing the course contents

☐ Task solutions

☐ Assessment

16

☐ Organisation of group work

☐ Other:

17