ECA is known for cutting-edge fashion teaching that emphasises personal creative freedom and design innovation while giving you more tutor time than in most other Fashion programmes.
DurationECA is known for cutting-edge fashion teaching that emphasises personal creative freedom and design innovation while giving you more tutor time than in most other Fashion programmes.
Our students have won many leading awards, including the GFW George Gold Award for Best Collection (Lauren Smith, 2013), GFW Womenswear Collection of the Year (Melissa Villevieille, 2015), GFW Menswear Collection of the Year (Shauni Douglas and Olivia Creber, 2013), the Christopher Bailey Collection of the Year, the Considered Design Award and the Hilary Alexander Trailblazer Award (Brian Mc Lysaght, 2019), David Band Textiles Award (Alexander Fan, 2019), George Catwalk to Store Award (Rosie Baird, 2019).
Together with the fashion industry group, All Walks Beyond the Catwalk, we co-founded The Diversity Network exploring emotionally considerate design and social responsibility. Working closely with the National Galleries of Scotland, we integrate our research on body image, self-esteem and identity into all our teaching, helping you build your skills in responding with empathy to consumers and their diverse needs.
Learning Keeping Pace With Industry
As shown in our annual DesignBook portfolio-building projects, we are renowned for upholding high standards of fashion drawing and presentation skills, helping you with understanding brand development and what it takes to shine in a creative business.
You will also develop a variety of technical and pattern-cutting skills - including creative cutting, small-scale cutting, tailoring and outerwear - and encouraged to develop innovations in fabrics, garment manufacture and finishings.
Ultimately, the final year offers you the opportunity to fully incorporate your design strengths into your graduate fashion collection, which can be explored through perspectives of accessory-led design, menswear, womenswear, knitwear and surface-led design.
Portfolio Guidance
As part of your application, you are required to submit a portfolio as evidence of your artistic ability and potential. You should begin to plan your portfolio as soon as you decide to apply.
Assessors are not necessarily expecting a showcase of final work, but rather an indication of work in progress showing how you approach an idea or subject and develop the work from initial thought, through experimentation and enquiry, to resolved work.
Assessment
Portfolios are assessed by a team of academic staff who are particularly interested in how you research and develop ideas in a visual way and how you engage with your chosen discipline. This is broken down into four main areas of assessment, briefly summarised as follows:
Visual Research and Enquiry shows the level of your engagement in intelligent, structured visual enquiry and how well you communicate this.
Idea Development shows your ability to appropriately explore and develop ideas, and your level of skills in the use of materials or techniques.
Selection and Resolution shows how well you judge which ideas have the most appropriate potential and your ability to bring them to a level of completion appropriate to your intended outcome.
Contextual Awareness shows the extent of your knowledge of the subject you have applied for and how your work relates to it.
How the content of a portfolio provides evidence for the above categories will vary enormously depending on the person and the subject being applied to, and no two portfolios will be the same.
Planning And Presentation
Assessors are interested in how you have decided to put your portfolio together. This means that your portfolio should be carefully planned and well presented.
Assessors will be judging your ability to edit your work, so be selective and strategic in your choice of material. Aim to show a clear narrative or sense of the themes in your work, as well as the connections between the pieces.
If you have lots of high quality work, include it. It can show that you have talent in breadth and are hardworking and committed. If you haven’t, select your best: these key gems can show us that you know what you are good at, and how to show it. There is no need to pad out your portfolio with work you’re not happy with.
Each image can be accompanied by a small amount of text, and applicants are strongly encouraged to make use of this opportunity. You should avoid including titles or descriptions of the work and instead explain the ideas behind the work, the challenge undertaken or any other significant factors.
It may also be useful to explain why you have included the image in its particular category (development work, resolved work or influences). Consideration should also be given to the graphical layout of the portfolio.
Remember that assessors will be looking at your work on a screen so the digital image you present to them is what they assess, so be aware of the quality of photographs and scans. It is worth the time and effort to make your work look as good as possible.
The images demonstrating your influences may be images of work or objects which have inspired or influenced your work e.g. people working in the same medium or for the same audience, now or in the past; people interested in the same subject or theme, now or in the past; natural or man-made phenomena, objects, places or events which have inspired or provoked a response.
A Strong Portfolio Is Likely To Display The Following:
Excellent drawing skills (e.g. creative fashion illustrations, life drawing, drawing clothes on people, still life) in a range of media with evidence of a personal illustration style.
An awareness of contemporary art, design and fashion.
Strong research skills from primary and secondary sources.
A good understanding of the development process through to final piece.
Consideration of professional presentation and styling of finished work.
In Addition, Applicants To 2nd Year Should Be Displaying:
Evidence of experimental 3D creative pattern-cutting.
Sewing skills and ability at garment manufacture.
If you have any questions about the application process, your qualifications or deadlines, our Undergraduate Admissions Office will be happy to help you.
What Happens Next?
We will contact you with our decision by mid-May. If you are made an offer, you will be invited to attend an Offer Holder Day.
Offer Holder Days typically take place in April and are opportunities for successful applicants to learn more about their subject areas and life as a student at Edinburgh College of Art and the University of Edinburgh.
Whether you visit us in person or attend a virtual Offer Holder Day, you will have the opportunity to meet with academic staff and current students from your programme, tour the studios and other facilities and attend general information sessions.
Edinburgh College of Art’s vision is to be internationally acclaimed for our open and participative teaching and research environment. We want to be known globally for excellence in our subject areas and the opportunities we give our students to collaborate and innovate across them, and with the wider University of Edinburgh community, of which we are proud to be a part.
ECA has always been a place of experimentation and collaboration, celebrated for enabling students from different disciplines to work alongside and with each other, and for creating strong linkages with other institutions.
We trace our history back to the Trustees’ Academy founded in the 1760s which, over the course of the next century, operated from some of the most iconic buildings in the city, including the University’s Old College and what is now the Royal Scottish Academy.
The first Professorship in an ECA subject area was created for Music in 1839 in the name of John Reid, with the Watson Gordon Chair of Fine Art founded some forty years later, the first of its kind in the British Isles and a turning point in the teaching of the History of Art.
Following the establishment of the Reid Concert series in 1841, which continues to this day, the Reid Concert Hall was built in 1859.
We’ve been known as Edinburgh College of Art (ECA) since 1906, following a major reorganisation of higher art education in Scotland. At the time, we were governed by the city Council and divided into four Schools: Drawing and Painting, Design and Crafts, Architecture, and Sculpture.
We moved into what is still our Main Building in 1909, when the first of our annual Revel parties took place and, by 1913, our Cast Collection had been installed in the Sculpture Court.
In 2011, ECA formally merged with the University of Edinburgh, bringing together all five subject areas: architecture and landscape architecture; art; history of art; design; and music.
The merger also saw the establishment of the University of Edinburgh Art Collection, some 2,500 works of art drawn from the University’s original, 400-year old art collection, and the College’s collection of prints, drawings, paintings and sculpture.
As we move ahead, our top priorities for ECA are our people and their environment, both on-campus and online. In May 2017, ECA was awarded an Athena SWAN Bronze Award, following on from ESALA's Bronze Award of 2014.We will continue to celebrate diversity and creativity, which makes our College a very inclusive and distinctive place to work and study.
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