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Manage Learn to apply best practices and optimize your operations.

Q&A: Mitigating enterprise security threats

During the Q&A portion of this SearchCompliance webcast on cybersecurity, Georgia Weidman, founder and CTO of Shevirah, Inc. and Bulb Security LLC, explains the factors fueling enterprise security threats, the importance of risk management and highlights how the internet of things is muddling the cybersecurity threat landscape. Weidman also explains the risks associated with enterprise mobility strategy and offers pointers on best practices organizations should be adopting to bolster cybersecurity.

Editor's note: The following is a transcript of the Q&A portion of Weidman's webcast presentation on how enterprise cybersecurity is being influenced by mobile, IoT and nontraditional endpoints. It has been edited for clarity and length.

Are there any metrics companies can use to make sure risk assessments, vulnerability assessments, and pen testing are working?
Georgia Weidman: Your risk assessments, they produce risk scores, which can be tracked in a registry and measured to be trending down. So, hopefully, the numbers go down. Your vulnerability assessments, if they're done continuously, should show you a reduction in the number and severity of the vulnerabilities over time. And with your penetration tests, they should produce fewer and less critical findings over time as they're repeated. You've got to do these things continually. If you're doing the mitigations and you're building a more secure or a more mature security program, you are going to see these risks go down.
What are the most pressing enterprise security threats related to mobility that companies might not know about yet?
Weidman: I think the biggest problem companies have is that they fail to recognize that they don't own mobile. They are going to carry these in and out of the enterprise and they administrate poor hygiene when doing so. A lot of corporations think that they have a handle on mobile because they have enterprise mobility management or they require everybody have mobile anti-virus.

I think the biggest problem companies have is that they fail to recognize that they don't own mobile.

They think it solves the mobile problem. And no one even says what good mobile security hygiene is. Like I said, the security awareness training doesn't cover it. Companies really need to step up with the user training, since the users are going to be the biggest threat to mobility.

Once a company has used these techniques you talked about to identify their security compliance gaps, what's the next step? Who needs to be involved with implementing these new cybersecurity processes to curb enterprise security threats?
Weidman: I think that secure mobility is cost-prohibitive at this point for most organizations. The NSA has spent the last four years trying to define what secure mobility is. Security has to be about risk management: That they're accepting that there are going to be risks around mobile. They are going to get compromised in some way. Knowing and understanding these risks is, I think, the key point. That means the senior management and the business management must be the ones making the decisions and they have to be involved in this.
How has the internet of things complicated companies' endpoint security strategies? Are businesses starting to understand and stop the new data threats posed by the IoT?
Weidman: Internet-connected devices continue to erode the perimeter. It was started by the smart phone; that was when the perimeter really started to break down. The internet of things makes it worse.

I don't think most businesses understand what smart phones did to their security, let alone the internet of things.  A lot of companies are still really treating their enterprise network as a bunch of boxes on a bunch of pipes that are all attached to each other and not really thinking about all these new perimeters they have with every internet of things device that comes online.
I think we're seeing a lot more security in the newer versions of the mobile devices. But with each person who says, "You know, I'm going to build a connected device," you know, X, Y or Z security may not be the first thing on their minds. So, it may take a few iterations of the next coolest device before it reaches critical security mass.

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Sunday, September 30, 2007

SLC Burning Life Party!!! WOOOT!

Yes the Burning Life Party at the SLC kicked off last night, the dance floor is still there if you and your friends wonna go party for a bit.

Thanx everyone who came, and also thanx to those who carried on after the Huge Griefer attack happend durning the Burning Life celebrations, it just showed how hard we little people of SL are.

I enjoyed seeing everyone getting into the free spirit and was cool to look across the sims seeing all the other parties going on! was a proper festival atmosphere and something i cant wait to see again.

They was burning a replica of Londons Globe theatre wich some of you might remember seeing at the SL4B

Hope to see many of you later at Mr Crabby for the official Burning of the man at 3pm SLT. Will give out Landmark later.

No comments:

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text:
• CollegeLCF
  • Start dateSeptember 2018
  • Course length15 months

MA Fashion Design Technology Womenswear

Guided by experienced staff and resourced with state of the art equipment, this postgraduate fashion design course nurtures talent and develops directional womenswear designers whose cutting-edge fashion influences the future of the industry.

About this course

MA Fashion Design Technology Womenswear seeks to recruit ambitious, creative designers who have a long-term fashion focus and wish to work for a key brand or set up their own label.

Watch LCFMA17 Womenswear Catwalk show.

Zhixian Wang

Zhixian Wang, MA15 - view Showtime profile.

Model in gold suit and image of a bunch of dried flowers.

Jessica Wakeman, MA16 - view Showtime profile.

MA FDT Womenswear catwalk show during London Fashion Week in February 2015.

Ioana Ciolacu was selected to win the Designer for Tomorrow award 2013.

Screenshot of the MA15 catwalk gallery on Vogue.com
A model in frayed denim and check.
Image: Felix Cooper

View gallery

MA14 Editorial Shoot, styled by Anders Sølvsten Thomsen, Fashion Director at Love magazine

Course detail

Based mainly in cental London, at John Prince’s Street, and resourced by specialist equipment at our other sites, contemporary technology is at the core of this course.

CAD CAM, state of the art knitting machines and facilities for digital print, rapid proto-typing and laser cutting allow students to produce womenswear collections that innovate in the field.

By nurturing creativity and specialist research, the course enables individuals to produce high quality and innovative work through illustration, design, cutting and modern manufacturing.

Students are supported to develop collaborations with industry specialists and international fabric suppliers, a process that not only builds important contacts for the future but one that enriches student experience and refines design sensibility. Using diverse production techniques - from couture craftsmanship to futuristic experimentation - students are able to explore their own perspectives to form the basis of their MA collection.  Guided by experienced staff, this also has the potential to incorporate a further specialism such as embroidery, knitwear or digital concepts.

Course structure

15 months, 4 terms, level 7, 180 credits

Term one

Creative and Technical Innovation (40 credits)

Research Methods (20 credits)

Term two

Technical Analysis and Development (40 units)

Collaborative Unit (20 credits) - find out more

Terms three and four

Masters Project (60 credits)

Travelling across London

The renowned London College of Fashion library is at our John Prince’s Street site, and you will need to travel to this site, and possibly others, during your course to use the library, which is open seven days a week in term time, and for tuition and special events.

Course structure

The information outlined is an indicative structure of the course. Whilst we will aim to deliver the course as described on this page, there may be situations where it is desirable or necessary for the University to make changes in course provision, for example because of regulatory requirements or operational efficiencies, before or after enrolment. If this occurs, we will communicate all major changes to all applicants and students who have either applied or enrolled on the course.

Please note that due to staff research agreements or availability, not all of the optional modules listed may be available every year.

In addition, the provision of course options which depend upon the availability of specialist teaching, or on a placement at another institution, cannot be guaranteed. Please check this element of the course with the course team before making a decision to apply.

Webpage updates

We will update this webpage from time to time with new information as it becomes available. In the meantime, if you have any questions, please contact a member of the course team.

Course units

The Creative and Technical Innovation unit is designed to establish and develop a balance to creative thinking and expand on your practical level of skills. Work will develop individually in response to the particular workshop sessions and introductions of supporting facilities and equipment available.

You will evaluate and expand your technical and practical skills in relevant methodologies pertinent to the technological and/or craft based skills you have appropriated.

Through tutorial guidance and peer review you will explore alternatives and possibilities to strengthen and expand your initial ideas into a revised proposal for presentation and development in the next stage of the MA.

The purpose of the Research Methods unit is to introduce you to the range of research methods, approaches and tools that are available to you in order to conduct your post graduate project.

The unit will cover philosophy and ethics in research; primary and secondary research methods, including quantitative, qualitative and visual research methods; and how to analyse, evaluate and disseminate research findings.

The unit will consider research in a range of contexts relevant to the cultural and creative industries and enable you to understand the relationship between theory and practice.

The Technical Analysis and Development unit is designed to support the planning and development of your Masters Project. In order for you to achieve a coherent and original body of work by the end of the course, this unit concentrates on the further development of your studio practice and the evaluation, which is underpinned by sound research.

Analysis within the previous specialist units of your MA course will inform you of ways to consult and develop a wide range of specialist resources and methodologies.

You are required to develop and scope your critical practice, to analytically review, and revise your focus in line with your expanding theories and in the context of your proposed market. The process of development and review culminates in an oral presentation and written proposal for assessment.

This Collaborative Unit is designed to enable you to innovate, engage in developmental processes and participate in collaborative working practices. You will be encouraged to develop the professional negotiating and networking skills that you will need in order to be successful in the cultural and creative industries.

The nature of this collaboration may be within your own course, with students on other courses or with industry. The project that you undertake will depend upon your discipline and the specific requirements of your course. Further details will be available in your unit handbook.

The Masters Project is an important piece of work which will provide an opportunity for you to demonstrate your knowledge and skills in relation to your discipline and chosen project. Throughout the Masters Project, you are guided and supported by tutorials and peer and staff evaluation at interim stages.

You will be allocated a supervisor for your project and will complete a learning contract outlining how you intend to develop and deliver your project. The Masters Project may take a variety of forms by negotiation and is assessed by presentation in an agreed format.

Showing your work

All students are advised to set up a profile on portfolio.arts.ac.uk, UAL’s new portfolio platform, which can be done at any point during your time at LCF and will last for up to 12 months after graduation. This platform is often used to source student work for promotional use on the website, social media and for print and can be a great way of getting your work seen. You may also be asked to have a portfolio profile for the selection process when it comes to degree shows.

Learning and teaching methods

  • Lectures, seminars and workshops
  • Online and digital learning
  • Museum and gallery visits
  • Feed-forward (formative assessment) sessions
  • Tutorials
  • Small group presentations
  • Masterclasses
  • Guest speakers
  • Group work
  • Optional international study tours

Assessments methods

  • Business reports, case studies and dissertation
  • Practice-based assessments including prototype development
  • Blogs
  • Peer assessment
  • Reflective statements and self-evaluation
  • Presentations
  • Group (collaborative) work

Nigel Luck is Course Leader. Read Nigel's full profile

Sarah-Ann Smith trained at CSM on the PGCert course and is an experienced Pattern Cutter with a wealth of ready to wear industry knowledge, including six years as technical manager Mary Katrantzou, Simone Rocha, Haizhen Wang and Roland Mouret. Skilled in both flat and stand work, Sarah-Ann has been responsible for many showpieces and VIP client work.

She is currently researching a cross comparison of international pattern cutting methods of drafting and draping.

How to apply

Opportunities for all

We are committed to making university education an achievable option for a wider range of people and seek to recruit students from diverse socio-economic, cultural and educational backgrounds. We are committed to supporting all our students in achieving their potential both during and after their courses.

Home / EU and international applicants

This section includes information on how to apply, course entry requirements and selection criteria.

2018/19 entry

Both Home/EU and international students can apply for this course using our online application form – the link to this is below. Before you apply, we recommend you take some time to read the following details about the application process, including guidance on the extra information we will ask you to provide.

Alternatively, international applicants can apply through an overseas representative in your country.

Application form

You will need to enter the following information in the online application form:

  • Personal details (including full name; date of birth; nationality; permanent address and English language level)
  • Current and/or previous education and qualification details
  • Employment history

Before you can submit the form, you’ll also need to agree to the terms and conditions for how we process your data – these are explained in the form.

Please note, if you’re an international applicant we will need to contact you separately to ask for copies of certain documents (for example, English language qualification/certificate and copies of any previous UK study visas).

Extra information required for applications to this course

When you are submitting your application form, you will also need to provide the following pieces of documentation in support of your application:

Curriculum vitae

You will be required to submit a Curriculum Vitae (C.V.) in support of your application. This should include your full education and employment history.

Personal statement

The personal statement is your opportunity to tell us about yourself and your suitability for the course that you intend to study.

Some key points to consider:

  • Make sure that personal statement is your own work and is about you.
  • Explain why you want to study the course you are applying to.
  • Try to link your skills and experience required to the course.
  • Demonstrate your interest and enthusiasm for the course and link these with your personality.
  • Make sure it is organised and literate (grammar, spelling, punctuation check).

Study proposal

Your study proposal should be no more than 600 words (excluding research sources, bibliography and appendices).

It should:

  • state briefly the background for the proposal;
  • determine the precise area of study;
  • set out clearly and concisely your aims and objectives for the period of study within the course structure;
  • refer to critical ideas that may underpin your practice;
  • State the form of realisation/ outcome of the study proposal.

Your Study Proposal should have the following structure:

Introduce your work. Briefly outline recent developments prior to application. Describe the anticipated programme of study in detail, demonstrating your knowledge of the historical and contemporary context of your area of study. Focus on specific areas or issues that underpin and frame the proposal.

Programme of study

Outline the sequence of practical, theoretical and research that you intend to follow. This will be vital to your programme of study in the development stage in which the Study Proposal will progress and take shape. For example, describe in detail the methodologies that you follow and their significance for the design process. (Advice and support will be offered by tutors on the course). Any supporting material should appear in the Appendices at the end of the proposal.

Evaluate your work to date. Draw any conclusions you are able to make.

Research sources

Give details of libraries, exhibitions, museums, galleries and special archives that you have visited as part of your research towards the proposal.

Keep a full record of all original and documentary material consulted. List appropriate material using the Harvard Referencing System.

Insert any additional material that you consider relevant but not part of the core of the study proposal. This could include links to notes, drawings and additional research material.

You will be required to submit a digital portfolio with a maximum of 30 images that you consider would help support your application. Submit your portfolio via the university’s digital portfolio tool, PebblePad. More details will be sent to you after you have submitted your application. You should include essential development work from sketchbooks to portfolio final presentations with photography of garments. Label and present any visual work with care, including dates and captions. If selected for interview, you will be asked to bring garments with you and additional portfolio work.

Entry requirements

Entry to this course is highly competitive: applicants are expected to achieve, or already have, the course entry requirements detailed below.

  • An Honours degree at 2.1 or above in a related discipline. Applicants with a degree in another subject may be considered, depending on the strength of the application;

  • Equivalent qualifications;

  • Relevant and quantitative industrial experience for a minimum of three years.

Selection for interview will be made on the basis of your application, including the personal statement, examples of your design work, the supporting written assignment and project proposal. If you are selected for interview you will be asked to bring a portfolio of previous work, including developmental work where possible, and two womenswear garments you have made to evidence your skills

For this course your digital portfolio should show evidence of: drawing/presentation skills; contemporary fashion/cultural awareness; a level of research, exploration and experimentation; fabric and material selection/knowledge; construction/technical competence; ability to think/work in 3D; and visual communication.

Student selection criteria

The course seeks to recruit students from diverse socio-economic and cultural backgrounds, and welcomes applications from mature students.

What we look for

The course seeks to recruit students who can demonstrate:

  • a strong commitment and motivation towards a career in an aspect of the fashion industry;
  • an awareness and relevant experience of fashion;
  • appropriate knowledge and skills commensurate with planned entry into the defined course, including the ability to design, pattern cut and manufacture clothing.

English language requirements

All classes are conducted in English. The level required by the University for this course is IELTS 6.5 with a minimum of 5.5 in each skill.

For more information, read the University's English Language requirements page.

International applicants

The Admissions office at the London College of Fashion will help to guide you through the application process and answer any specific questions that you may have regarding our courses. This may include portfolio advice, the application process and fee advice. We offer a ‘drop-in’ facility for applicants who may be in London and wish to obtain further course and admissions information. Please contact us for further information on this facility. We can also arrange a tour of our facilities if we are given prior notice. Our contact details are:

Address: London College of Fashion, International Office, 20 John Prince's Street, London W1G 0BJ.

If you have a question, you can contact our International Recruitment Office by calling +44 (0)20 7514 7656 / 7678 / 7629 or completing our Online Enquiry Form.

International applicants should contact the Admission Office by emailing lcf.international@arts.ac.uk about portfolio requirements (if applicable), interview times and dates.

Fees and funding

Home / EU fee

This applies for the 2018/19 academic year.

UAL Home/EU alumni receive a £1,000 discount.

Course fees may be paid in instalments.

Home/EU students whose chosen course is at a level equivalent to, or lower than, a qualification that they already hold, will be charged the fees shown above, plus an additional £1,100 (called the 'ELQ' fee). Students in receipt of Disabled Students' Allowances (DSAs) are exempt from ELQ fees and will pay the original fee, regardless of the highest qualification held. For enquiries relating to ELQ fees, please complete the course enquiry form.

International fee

This applies for the 2018/19 academic year.

UAL International alumni receive a £1,000 discount.

Course fees may be paid in instalments.

Additional costs

In addition to tuition fees you are very likely to incur additional costs such as travel expenses and the cost of materials. Please read the information on our additional costs page.

Find out about the accommodation options available and how much they will cost.

Scholarships and awards

There are a number of scholarships and awards available to students on this course. Use our search tool to find out more information.

Scholarships search

Career paths

Masters graduates have an acknowledged advantage in the employment market, obtaining work in a wide range of vocational and academic fields related to fashion. The course provides the industry with graduates who will have the capability to work as part of a creative team as a colleague and an individual. The graduate will have transferable skills for the creative industries including an understanding of high levels of design, time and project management, production and technical knowledge of types of manufacture supported by an aesthetic awareness and academic underpinning.

The course in the past has benefited from constant contact with the industry. External assessors and tutors, leading buying and merchandising teams, stylists and photographers, journalists and editors, entrepreneurs and business consultants show an increasing interest in the emerging talent the course generates. International employers include Alberta Ferretti, Alexander McQueen, Zac Posen, Chloe, Loewe, Pringle, Hussein Chalayan, Roland Mouret, Topman, Savile Row Tailors, Browns Focus, Harvey Nichols, Topman, Savile Row Tailors and Browns Focus.

Graduates from the current MA Fashion Design and Technology have gained employment as innovators within the broad field of fashion design and technology or have identified a fashion house, large corporate company or alternatively choose to build their own identity through the launch of their own design label. Further employment of graduates has included trend prediction, stylist, illustrator, freelance designer or broad aspects of the creative industries.

Further employment opportunities include trend prediction, stylist, illustrator, freelance designer or broad aspects of the creative industries. The MA also provides an excellent preparation for higher level research degrees (MPhil or PhD), with an increasing number of graduates undertaking research in fashion related subjects.


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