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Fashionably Early
Designing Australian Fashion Futures
9 August 2012

Contents

Design, Innovation and the 21st Century Fashion Blur. ............................................... 4

Fashioning ideas: between concept and process........................................................ 20

Digital craft: brave new fashion ............................................................................... 27

The big picture: developing a sustainable design minor for online virtual delivery ... 32

What are the Geometric Properties of Dart Manipulation in Fashion Patterncutting.. 41

Biomimicry and Fashion Practice............................................................................. 61

A Fitting Foundation for a Future Fashion Industry .................................................. 71

Educating Fashion Designers for the Creative Economy of Sri Lanka ...................... 79

Dress Collections and Fashion Education ................................................................. 90

Wearing Matters: Engaging ‘users’ and changing relationships with clothes ............ 98

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3
 st
Desig , I o atio a d the Ce tur Fashio
Blur.

Kathleen Horton and Jane Morley

Queensland University of Technology

Contents
Introduction ..................................................................................................................... 5
Fashion and the Creative Industries ................................................................................. 7
Shenaz Engineer: ............................................................................................................. 9
Ana Diaz: ...................................................................................................................... 12
Carla Binotto and Carla Van Lunn:................................................................................ 15
Conclusion: ................................................................................................................... 18
References:.................................................................................................................... 19

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Introduction
Over the last 50 years, the role of the fashion professional has become increasingly

complex and diverse. In the context of a chaotic high-speed industry, the image of the

individual artistic designer with a unique practice that evolves over the breadth of a

career has been seriously challenged. Contemporary fashion designers are called upon

to apply skills beyond the sphere of design and branding to consider issues of

marketability, technological advancement, globalization, sustainable business models

and social responsibility - to name just a few. Bridgstock, Brough and Thomas (2012)

highlight this complex skill-set suggesting that in addition to being practical, innovative

and business-minded, fashion graduates must be highly self-motivated and

entrepreneurial… digital and network savvy, and …committed to a continuous process

of product and self-reinvention in order to stay in the game. )dentified as the

slash/slash generation Viewpoint emerging designers engage in diverse career

paths that see them working across several cultural and aesthetic fields simultaneously,

creating their own career portfolios McMahon . Successful fashion graduates

seem to negotiate the diversity and complexity of the fashion system not only by

remaining flexible and responsive, but also by embracing the possibilities that emerge

as more traditional systems of production and consumption are replaced by new, often

digitally based practices.

The question of what role fashion education plays in this vast, globalized, chaotic,

creative economy known as contemporary fashion is understandably contentious. With

claims to both art and industry, fashion education has often been split along ideological

lines. Writing in 1998 British cultural theorist, Angela McRobbie identified at least three

types of fashion education: managerial fashion, with a focus on industry relevance and

clothing for real people, professional fashion, fostering creative design supported by

technical skills, and ideas or conceptual fashion, emphasizing innovation and individual

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creative practice over industry standards. (owever, McRobbie s typology is perhaps

best understood mapped against a long-standing tension in fashion education between

providing students with technical industry skills and developing creative conceptual

fashion practitioners. The problem with this dichotomy is that it assumes and maintains

a divide where creativity and innovation are the sole domain of conceptually based

design and the manufacturing industry is relegated as separate often backward entity.

Moreover, in the contemporary global context, particularly in light of pressing

environmental and social issues that have come to define the tenor of our times,

designers are frequently being called upon to innovate at the level of industry and

management, as much as at the level of design. As a result, fashion programs need to

move beyond tensions between art and industry and approaches that pitch ideas against

manufacture, and instead focus on exploring how innovation can occur across all

aspects of fashion design, production, marketing, business and consumption.

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Fashion and the Creative Industries
Inspired by the challenge of developing a course that equipped graduates for the 21 st

century, QUT s Fashion program was founded in in the context of the world s first

Creative )ndustries Faculty : an initiative specifically designed to bring together the

disciplines of performing and creative arts, media and communication, and design…to

train graduates in the creative aspects of the new knowledge economy (artley,

2007:1). Aside from the energy and excitement that an entirely new faculty can bring to

education, Suzi Vaughan, QUT Fashion s first head of school, was equally inspired by the

positives of the university s geographical location arguing within an age of increasing

mass globalization, information overload, and mass-consumption, … it is at the

periphery that new ideas and new ways of thinking will blossom Vaughan &

Armstrong, 2009: 11). To her mind the fact that Brisbane was not a fashion capital – not

even in a local sense, afforded a spirited freedom that not all fashion education was

allowed.

Therefore from the outset QUT adopted a unique attitude to fashion education by

maintaining an intensive studio-based approach to conceptual fashion design practice,

as found in the British art school system, while also making the most of the

interdisciplinary focus of the creative industries by encouraging students to pursue

complementary creative areas such as journalism, visual arts and film. At the same time

QUT Fashion made a concerted effort to redress what Tiziana Ferrero-Regis (2009: 81)

highlights as the separation of practice and theory that tends to characterise the

fashion system. This meant developing an undergraduate course that relies on three

interlocking strands: practice, theory and industry and building a number of practice-

based units that facilitate students to bring all these facets together. In a further effort to

broach a curious divide in fashion education, QUT Fashion joined forces with the QUT

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Business School in to offer Australia s only double degree in business and fashion

design. This move encouraged a version of applied creativity that moved beyond the

traditional bounds of many design courses and equipped students to engage with the

often- harsh reality of the fashion world.

In the context of this interdisciplinary approach QUT subsequently developed a range of

real world learning projects such as The Fleet Store (a student run pop-up store) and

student-led fashion magazine, Frock Paper Scissors, in order to develop student

entrepreneurship beyond the design studio and into practices across the broader

creative industries (McMahon 2011). In a similar vein, but with more of a community

focus, the stitchery collective evolved as QUT graduate collaborative design team that

explores the potential for fashion to be applied in contexts far beyond that of the

boutique and the catwalk. Projects such as fashioning social inclusion (2011-2012) and

see it, love it, make it (2012) see students and graduates working with diverse

community groups to extend fashion s influence to generate social change and activate

cultural development. In all of these projects students are called upon to raise funds,

apply for grants, pitch ideas, sign contracts, promote and market their creative outputs,

forge industry and community contacts and generally wrangle a place for themselves in

what already seems to be a saturated fashion world.

Therefore, if understanding fashion as part of a bigger picture is a keystone to QUT s

approach to design education in the 21st century, the other is the emphasis on research

and reflective practice. This aspect of design education is significant not only so that

designers can develop practices that are individually sustaining and rewarding, but it is

also vital given the range of environmental and social ills that the fashion industry

perpetuates. Of course, maintaining relevance in the industry requires that graduates

are equipped to operate within the existing framework; however, it is also imperative to

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educate them to stop, question, research and take the time to build new creative

solutions and an evolving philosophy of practice. Below we highlight the work of four

QUT Fashion graduates, Shenez Engineer, Ana Diaz, Carla Binotto and Carla van Lunn

who are definitely applying their entrepreneurial instinct and design integrity to carve

out a place for themselves in the industry.

Shenaz Engineer:
Shenaz Engineer is a fashion practitioner successfully and innovatively using her

theoretical and practical skills to bridge business, conceptual design and marketing.

Engineer was in the first graduating cohort of Australia s first double degree in fashion

and business. Far from dampening her creative potential in fashion projects, the dual-

degree graduate was able to synthesize her skills from business with fashion theory,

industry and studio knowledge to develop her conceptually driven, graduate collection:

A Kaleidoscopic Perspective, a spectacular achievement revolving around architectural

draping, innovative finishing and fabrication, and engineered digital print design. At the

same time, Engineer used The Fleet Store project to develop a commercially viable

diffusion range to market and sell. The diffusion range was a market-ready echo of her

conceptually driven graduation collection which not only sold out in Brisbane but also in

the London boutique, Milk.

Like many of her fellow students, Engineer developed her individual architectural

design philosophy not only through her theory and studio subjects at QUT, but also

through a semester abroad on exchange to Amsterdam and an industry placement with

Alexander McQueen as part of her study. The well researched design methodology and

conceptual ideas underpinning Engineer s work was acknowledged by both academia

and industry through awards and showcases. A Kaleidoscopic Perspective was awarded

first place in the Australasian Student Design Awards and second place in the Dunedin

iD International Emerging Designer Awards. Subsequently Engineer was offered an

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exhibition space to show at Berlin Fashion Week, and in a pop culture coup her

garments were borrowed by internationally recognized musician, Fergie, from the Black

Eyed Peas. The fact that Engineer s work has been celebrated globally by all corners of

the fashion world, both academic and commercially driven, demonstrates that true

innovation bridges all divides.

Shenaz s graduation collection on the catwalk:

http://www.youtube.com/watch?v=4qPyTM6mgxE

A Kaleidoscopic Perspective- video projection for Berlin Fashion Week presentation of

Shenaz s collection of the same name:

http://vimeo.com/28440949

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Ana Diaz:
Ana Diaz s practice demonstrates a successful foray into Australian fashion micro-

business effectively juggling creative and commercial needs while also engaging her

audience with a distinct and continuously evolving design signature. After being

nominated for the Sportsgirl L Oreal Melbourne Fashion Festival Showcase in , Diaz

was one of two designers selected to undertake a design collaboration with the iconic

Australian brand. Due to her well established personal design philosophy and deep self-

understanding, Diaz was able to effectively translate her design handwriting to a range

for the Sportsgirl customer while still encapsulating her playful brand identity. The

experience of working with the Sportsgirl team within their supply chain was a

thoroughly enriching experience and the exposure meant the logical next step was to

launch her own label, Diaz.

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Enterprise learning projects, such as The Fleet Store, gave Diaz an introduction to

running a creative business; however, to successfully launch and sustain a fashion

brand, she sought business and design mentoring at the QUT Creative Enterprise

Australia Fashion Incubator. Diaz is successfully stocked in numerous design-driven

boutiques in Australia, such as Violent Green and Alice Euphemia and has recently

started to gain a celebrity following in Australia. With supply chains, traditional seasons

and delivery schedules speeding up and changing globally (McMahon 2012), Diaz knew

she needed to be flexible and forward thinking to develop an international sales

strategy. As a result, with the support of the Fashion Incubator Ana has been devising a

transeasonal ranging strategy with small-run local production to meet the emerging

needs of a shifting market.

Diaz is an example of a fashion practitioner working at the forefront of creative business

and design by pushing for innovative strategies across the spectrum of her business and

industry collaborations. Poised to sell her third successful range, she never rests

comfortably , instead continuing to push her practice forward. Diaz will soon begin

work as one of four designers on a Fashion Incubator project funded through Arts

Queensland to collaborate with Indigenous Australian artists and expand her creative

practice. This young designer s approach to fashion demonstrates that a drive for

innovation means that commercial success does not come at the expense of creativity or

community engagement.

Ana s graduation collection on the catwalk:

http://www.youtube.com/watch?v=jXSkkqttkAc

Website for Ana s label Diaz:

http://diazlabel.com/

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Carla Binotto and Carla Van Lunn:
Carla Binotto and Carla Van Lunn are prime examples of reflective practitioners

effectively evolving their practice to meet emerging challenges of the fashion industry.

With the development of their cult label, Maison Briz Vegas, Binotto and Van Lunn have

further refined their already unique creative practices to respond to a need for more

collaborative, socially responsible and environmentally sustainable fashion. Their

graduation collections demonstrate strong design philosophies and a drive for

innovation forged during their study at QUT. However, their current label demonstrates

they have the tools of reflective practice required to translate their respective design

handwriting into a distinctive and conceptually driven design solution that responds to

the crisis of material shortages and waste.

The pair demonstrated a keen ability for conceptually driven clothing in their study,

with Binotto presenting a stunning interpretation of the glove through innovative

pattern cutting and intensive creative research, and Van Lunn designing an iD

International Emerging Designer Award- winning range that gave an abstract

interpretation of a picnic. Both designers displayed a considered approach to design

and conceptual thinking and problem solving techniques. They also evolved additional

dimensions to their practices, Van Lunn, through extensive experience in the Parisian

luxury fashion industry, and Binotto, through her work in QUT affiliated fashion

community engagement group, the stitchery collective. All these skills and experiences

would serve them extremely well when tackling the pressing issue of bringing

sustainable fashion to the luxury market.

Theorists may argue that fashion practices needs to reduce the impact of modern

consumption without compromising commercial or creative edge (Chapman 2005, 24).

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However, this standpoint does not capitalise on the enhanced sense of identity people

receive from the act of consuming a luxury product. Luxury products perform two

symbolic functions, not only enhancing the consumer s status in the eyes of others, but

also enhancing their own identity by aligning them with the core values and ideal

customer of the brand Morley & McMahon . The consumer of the future does

not just want to be seduced but also redeemed Giesen : 5 and therefore brands

need to weave the values of environmental sustainability and social awareness into

their brand identity and design signature. Binotto and Van Lunn have been

spectacularly successful at developing an innovative, luxury, design-driven brand

identity and will continue to further refine the supply chain and manufacturing process

through Binotto s practice-led PhD at QUT. Binotto and Van Lunn are wonderful

examples of designers who use innovation as a key driver to unite theory and practice.

Their first commercial fashion endeavour has had a resoundingly positive response

from heavy-weight luxury buyers in the industry and their design partnership looks to

have a sustainable future.

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Conclusion:

Individually, Shenez Engineer, Ana Diaz, Carla Binotto and Carla Van Lunn all present

diverse examples of innovative 21st century fashion design practice. Collectively, despite

their different approaches and outcomes, it is significant that all four emerging

designers are contributing to Australian fashion through small, entrepreneurial

businesses with a global outlook (McMahon 2011). The other contribution that they are

clearly making is through valuing, highlighting and revelling in the process of design

itself. This is notable because ironically, design as distinct from product development is

a quality that is becoming alarmingly scarce in the global fashion market. The beautifully

researched and meticulously made collections of these young designers all demonstrate

an attention to detail and sensitivity to fabrication that flies in the face of fast fashion. In

an industry characterized by imitation and diffusion, where research and development

is still largely seen as a luxury too expensive to foster, these designers are staking their

reputations on their capacity to stop, reflect and innovate. Their optimistic creativity is

re-modeling the industry and pointing a clear path through the 21st century fashion blur.

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References:
Bridgstock, R., Brough, D., & Thomas, A. (2012) Creating fashion professionals for the
21st century: A tale of pedagogical tensions and emerging challenges. Presentation at
Fashion Tales 2012, 7-9 June, 2012. Università Cattolica del Sacro Cuore, Milan.

Chapman, J. (2005) Emotionally Durable Design: Objects, experiences and empathy.

London; Sterling, VA: Earthscan.

Coyne, Richard. (2005) Wicked problems revisited. Design Studies, 26, 5-17.

Ferrero-Regis, Tiziana (2009) What is in the name of a fashion designer. In Vaughan,

Suzi & Schmidt , Christine (Eds.) Five : Fashion Musings. Post Pressed, Teneriffe,
Queensland, pp. 74-85.

Giesen, Barbara (2008) Ethical Clothing: New awareness or fading fashion trend?
Saarbrucken, Germany: VDM & Co.

Hartley, John (2007) From creative industries to creative economy: flying like a
well-thrown bird? [in Chinese], in Hartley, John, Eds. Creative Industries, pages
pp. 5-18. Tsinghua, University Press.

Horton, Kathleen (2012) the stitchery collective: more than pretty clothes for pretty
people. Conference paper presented at Next Steps 2012, 9-12 July, 2012, Queensland
University of Technology.

McMahon, Kay (2011) The business of fashion : entrepreneurship and enterprise

learning for the new creative global marketplace – the Australian case study. In
Development of International Network in Fashion Business Education, Meiji University,
Meiji University, Tokyo. (In Press)

McMahon, Kay (2012) Pass the scissors : consumers close in on the fashion industry. In
Proceedings of Fashion Beyond Borders 14th Annual Conference International Foundation
of Fashion Techcnology Institutes 2012, International Foundation of Fashion Technology
Institutes, Jaipur, India. (In Press)

Morley, Jane & McMahon, Kay (2011) Innovation, interaction, and inclusion : heritage
luxury brands in collusion with the consumer. In Fashion & Luxury : Between Heritage &
Innovation : the 13th Annual Conference for the International Foundation of Fashion
Technology Institutes, 11-16 April 2011, Institut Français de la Mode, Paris.

McRobbie, Angela (1998) British Fashion Design: Rag Trade or Image Industry?. UK &
USA: Routledge.

Rittel, Horst & Webber, Melvin (1973) Dilemmas in a general theory of planning. Policy
Sciences, 4, 155-169.

Viewpoint – Our Synthetic Future # 22, 2008 Metropolitan Publishing BV

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 Fashio i g ideas: et ee o ept a d pro ess

Anne Farren
Academic Coordinator | Fashion Design
School of Design and Art
Curtin University

Contents
Fashion and Aesthetics ............................................................................................ 22
The Industry and our Graduates Contribution ......................................................... 24
References .............................................................................................................. 26

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The balance between concept and process presents a challenge for both the contemporary
fashion practitioner and educator. While concept and process based practice might be seen
as diametrically opposed this is not the case. This new context and the challenges that it
presents are explored in this essay.

Caroline Evans suggests that there was a significant shift in the positioning of fashion in the
s, ith the e e ge e of a e ki d of o eptual fashio desig e . 5: 111). The
new age of fashion design engages in a practice that is interdisciplinary and multifaceted.
Hazel Clark reflects on the value and benefits of conceptual fashion, stating that
As fashion is being presented internationally in galleries, museums, and in public spaces as
much as on the runway, it also gains the potential to have a greater impact conceptually that
is to reflect on itself, and on people, bodies, identities, ethics, aesthetics, and notions of
beauty – the very stuff, in fact that fashion is really made of. (2012: 74)
This broadening of the perceptions and thinking that surround fashion has opened up the
possibilities for new modes of practice that slip between fashion, art, architecture and
science without being confined to the traditional conventions of commercial production and
presentation on the catwalk and in retail environments. Fashion education has been an
integral part of this shift; in the 1990s while researching the British fashion education system
A gela M ‘o ie fou d hat she des i es as th ee t pes of fashio edu atio :
professional fashion, managerial fashion, and conceptual fashion. With professional fashion
p epa i g stude ts fo up a ket fashio o pa ies a age ial fashio dealt ith usi ess
and marketing and significantly conceptual fashion design courses taught skills, at the same
ti e as e ou agi g stude ts to de elop ideas a d pla ith the f eel . (Clark 2012: 70) It
is important to note that design process and well crafted object making remain at the centre
of both the teaching and practice of conceptual fashion.
While conceptual fashion can conceivably exist without the production of an object, to date
that has not tended to be the case; the conceptual fashion designers discussed [here]
continue to produce technically, as well as conceptually, sophisticated garments. (Clark
2012: 74)
Clark cites a broad spectrum of well known Japanese and European based fashion designers
such as Issey Miyake, Shelly Fox, Hussein Chalayan along with Chinese designers Ma Ke and
Wan Yiyang in support of her statement.

The introduction of fashion studies at Curtin University came about in 2001 amidst the
redefining of fashion and the emergence of conceptual fashion design practice. The new
fashion and textile design course provided an opportunity to develop curriculum that
integrated conceptual thinking and design practice. Prior to the curriculum development a
course structure had already been established that required students to study both fashion
design and textile art units. Curriculum drew on practices from both the art and design
schools; it was a perfect environment for the introduction of a conceptual approach to
fashion, balanced with design process.

The fashion course at Curtin attracts students who tend to be focussed on either the
p ofessio al o o eptual practice of fashion which generates a need for the course to
facilitate learning that will meet both strong design process skills and conceptual thinking,
which according to Clark (2012: 74) are not incompatible. While a focus on the innovative
and analytical aspects of conceptual fashion suit the higher learning environment, the reality
for the majority of those working in fashion, is that they will also need to be prepared for an
engagement with p ofessio al industry conventions and rigorous production processes

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even if adopting the practice of creating conceptual fashion. It is the p ofessio al skills and
knowledge that will provide graduates with income. Industry demands a comprehensive
understanding of process in graduates from a fashion program. For a course to have
credibility with industry this cannot be ignored. Fostering an understanding of the balance
between concept and process is a difficult one with many students struggling with
preconceptions of fashion filtered through the media presentation of the industry. These
students are focussed on process skills only and struggle with the development and
application of conceptual thinking. However it is the thinking that sits within a conceptual
approach to fashion design that supports its positioning within a University learning system.
The innovation and creativity that is developed by a conceptual approach can also provide
graduates with an edge in the commercial sector.

FASHION AND AESTHETICS

The emergence of conceptual fashion has fuelled the ongoing debate surrounding fashion,
art and aesthetics. Within the context of conceptual fashion objects are being created with
the potential to be worn however are not dependent on this function. This scenario is
challenging conventional perceptions regarding the position of fashion within both art and
design paradigms.
Western society has found it necessary to distinguish between aesthetics and function:
between the spiritual in art, and the corporeal in design. (Thompson 2004: 7)
Because fashion is most commonly seen as serving a functional purpose and in direct
relationship with the body, it is not being recognised as an art form and the aesthetics of the
fashion object are often not considered worthy of philosophical discussion. However Negrin
argues that it should e possi le to recognise the aesthetic dimension of fashion without
having to make it confo to the o ept of a t as it has ee t aditio all o ei ed.
(2012: 51) Ha ilto states that fashio desig is a t at least ith a lo e ase a – a
practice involving skill or craft whose ends are essentially aesthetic, that is, the enrichment
a d i te sifi atio of e pe ie e. : Ho e e Ha ilto also suggests that fashio is
a design form with its meaning embedded in function, precluding it from pure abstraction
and therefore the ability to be classified as art. (Hamilton 2011: 67) Noted author and
u ato Vale ie “teele has fo a ea s e gaged i dis ussio s a ou d the uestio is
fashio a t . “he states that
…we will probably never be able to say that all fashion is art. Only a field of restricted
production, involving images and objects relating to high fashion and/or avant-garde
fashion, is ever likely to be considered art. (2012: 23)

This is an important distinction to be made and it suggests that any fashion that might
approach being described as art is most likely to come from conceptual designer practice.
While the lack of agreement regarding the validity of aesthetic evaluation of fashion might
still lie in question, aesthetics are included as an important consideration in the fashion
program at Curtin: the application of design elements of such as shape, proportion, design
lines, colour texture, materials and embellishment are elements that contribute to the
overall aesthetic value of the work produced by students.

Far too often the full breadth of activity described as fashion is clustered under the singular
description without any distinction being identified. This leads to considerable confusion in
the fashion as art debate. More important than the discussion of whether or not fashion is
art, is the establishment of a distinction between the different domains of fashion practice.
The descriptions provided by Angela McRobbie assist greatly in establishing clarity in relation
to teaching foci. The fashion program at Curtin endeavours to address both the

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 p ofessio al a d o eptual do ai s ithi o te po a fashio . ‘efe e i g these
domains assists us in determining pedagogic approaches in relation to maintaining a balance
between conceptual and process focussed teaching. While the argument surrounding the
positioning of fashion continues, the fashion program at Curtin remains philosophically
positioned within design. However this has not precluded the adoption of practices from
both art and design. The fashion program at Curtin brings together the expertise of staff
from industry, art and design backgrounds which fosters a cross disciplinary approach to
teaching and learning. The course promotional brochure describes the fashion major as
…an exciting exploration of the relationship between garment and the body. It embraces all
aspects of body adornment, the cultural significance of dress, and the prominence of fashion
in the media. I this ajo , ou ll e p o ided ith a theo eti al a d o te tual framework
to understand national and international trends and the cultural significance and practice of
fashio desig . You ll e e ou aged to de elop ou o i o ati e app oa h to fashio
while you learn the principles of design and creative practi e. You ll de elop st o g skills i
research, analysis, production and visual communication that will prepare you for a range of
career opportunities within the fashion industry.
(http://otl.curtin.edu.au/publications/tlbookchap2.pdf)

Projects are devised that involve students in a blend of learning around an engagement in
the application of the technical foundations to the design process and the expression of
concept. The implementation of the new fashion major in 2010 provided an opportunity to
introduce new curriculum in response to issues such as sustainability and innovative
practices merging art and fashion within the industry.
Within the new single major structure there has been an increase from six to nine fashion
specific units within the course. While this has assisted in the development of fashion
content the disadvantage lies in the fact that nearly half the study units are now free for the
selection of a second major or a range of elective units. Students are no longer compelled to
take art and design theory units; consequently resulting in a need for theory to be woven
into the content of the fashion major units within the course. Our study units are generally
heavily loaded, as we endeavour to balance the conceptual learning requirements of higher
education with the pragmatic process based expectations of industry.

The fashion course at Curtin operates on the assumption that the effective study of fashion
requires an engagement with the practical skills of making that ensure application in the
design process that supports visual expression of the concept. However the pressures within
the higher education sector to increase cohort numbers without the provision of increased
resources, is challenging our ability to ensure students gain the appropriate levels of skill
based and design process learning. This has resulted in the need for a stronger focus on the
implementation of learning strategies that are centred in problem solving activity that
engage students more directly in the learning process. An approach to learning supported by
recent research into the efficacy of higher education strategies in fashion education. (Power
2010) Since the implementation of fashion studies at Curtin we have adopted a practice of
fostering student centred learning with project briefs that integrate both design process and
conceptual considerations. As students move through the program the conceptual aspects
of their work become more significant. In the final year of study their work is primarily self-
directed research which is driven by the achievement of conceptual outcomes.

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THE INDUSTRY AND OUR GRADUATES CONTRIBUTION
Increasingly young fashion designers are choosing to explore the permeable membrane
between fashion and art. (Bippus 2007:12) The examination of this membrane is fostered
within the fashion program at Curtin University through the integration of conceptual and
process driven teaching and learning. The course provides an interdisciplinary approach that
exposes opportunities for graduates to explore fashion from both sides of the art-fashion
membrane. By providing the foundations for independent learning through the
development of self-directed research skills graduates are able to engage with the breadth
of opportunity that now exists within fashion.

Since the first graduates emerged from the fashion and textile program at Curtin in 2003,
they have proven themselves to be some of the most innovative young designers and
entrepreneurs. Graduates are exploring the breadth of potential across the fashion industry;
gaining employment with companies in Japan, Berlin and Canada, teaching in Singapore,
extending their studies in Europe, establishing boutiques locally, exploring new and
innovative modes of practice, participating in exhibitions, engaging in arts based practice,
designing for performance, carrying out contract work for fashion festivals, building fashion
labels or in the employ of locally based national and international brands.

Fashion in Western Australian is emerging as a dynamic growth industry with local designers
establishing their place both nationally and internationally; it is an environment that is
acting as an incubator for emerging talent to explore new initiatives. Graduates from the
course at Curtin are contributing directly towards the creative development and diverse
nature of contemporary fashion practice in Western Australia. In the past ten years, a new
breed of young fashion designer has emerged in Perth and Curtin graduates are playing an
active role in this dynamic community that initiate and embrace new approaches to the
development and presentation of their work. These young designers move between
exhibition and retail spaces and swap art and design places. Their active engagement with
the e hi itio is shifti g pe eptio s of the disti tio et ee galle a d etail pla es
and display spaces. Examples of this approach abound within a range of independently run
and owned designer based stores such as Subway, LaLa Orange, Keith & Lotte, Ashe and
collaborative networks such as William Street and High Street Collectives and the Beaufort
Street Network. They collaborate, they network, creating a new form of fashion; work that
slips between art and commercial paradigms; is exhibited in retail windows and
merchandised as if works of art. Pop-up shop fronts and exhibition spaces abound,
presenting a blend of art and design based fashion. In 2009 the William Street Collective
introduced Outskirts, an event that included a range of pop-up activities involving both
retailers and exhibitors in the temporary display of work in empty venues along the
Northbridge sector of William Street. Outskirts was held in the lead-up to the Perth Fashion
Festival and provided the opportunity for pop-up events; final year students from Curtin
initiated and curated Cabinet of Curiosities, which presented a blend of performance,
exhibition and retail experiences. Audiences and consumers flowed between retail and
exhibition places and spaces to explore a plethora of fashion and textile-related works that
reflected a seamless blend of visual art and commercial fashion practices. Curtin students
and graduates continue to play an active role in the ongoing development and presentation
of events that form a part of the local fashion industry.

Curtin students experience a unique fusion of both design and art based thinking; they
engage in a conceptual approach to fashion that is predicated on the foundations of skilled
object making and design process. It is this approach that we believe provides graduates

24
with the skills to secure a fulfilling career path or create new opportunities within the
dynamic world of fashion.

25
References
Bippus, E. 2007. Foreword – fashion body cult. In Fashion Body Cult. Stuttgarte: Arnoldsche
Art Publishers

Clark, H. 2012 Conceptual Fashion IN Adam Geczy and Viki Karaminas (eds) Fashion and Art.
London: Berg. 67-75

Drew, L., Bailey, S. and Shreeve, A. Fashio Va iatio s: “tude ts App oa hes to
Learning in Fashion design IN Exploring effective curricula practices in art, design and
communication in Higher Education: Proceeding for the 1st international centre for Learning
and Teaching in Art and Design, Conference, 11-12 April RIBA London.

Evans, C. 200 . No Ma s La d. IN Hussein Chalayan, Rotterdam, NAI Publishers.

Ha ilto , A. . The Aestheti s of Desig IN Jessi a Wolfe dale a d Jea ette Ke et

(eds) Fashion Philosophy for Everyone: Thinking with Style. Oxford: Blackwell.

Negrin, L. 2012 Aesthetics: Fashion and Aesthetics – A fraught Relationship. IN Fashion and
Art by Adam Geczy and Vicki Karaminas (Eds) London: Berg (43-54)

Power, J. 2010 Examination of issues affecting the teaching and learning of large cohorts
within practical-based subjects. IN International Journal of Fashion Design, Technology and
Education Vol.3, No. 2, July 2010, 55-66

Steele, V. 2012 Fashion. IN Adam Geczy and Viki Karaminas (eds) 2012 Fashion and Art.
London: Berg. 13-27

Steele, V. 2011 Is Fashion Art? An evening with Valerie Steele. Talk presented on Thursday, 4
August - 6:00pm at Queensland University of Technology Creative Industries Precinct.
(Unpublished transcription of recording sourced on QUT website)

Tho pso , P. Fo e o d IN Desig ≠ A t Fu tio al O je ts f o Do ald Judd to

Rachael Whiteread. London: Merrell (7-9)

26
 Digital raft: ra e e fashio

Dr. Je u der ood a d Kate Ke ed

School of Fashion & Textiles, RMIT University, Melbourne

Contents
Introduction ................................................................................................................ 28
The Digital Native ........................................................................................................ 28
The Creative Amateur .................................................................................................29
Technological incorporation ........................................................................................ 29
References .................................................................................................................. 31

27
I trodu tio
The next generation of fashion students are digital natives. They think in 3D, work
a oss ulti platfo s, like to opt i a d out a d do ot see the eed to follo
traditional approaches, when there are smarter ways of working. For them the
distinction between the digital and the real (analogue) is blurred.
For fashion educators this raises significant challenges and opportunities as to how
to best respond and engage with this new generation in the tertiary education
environment.
This paper will argue that technology is redefining trade craft. The traditional
master/apprentice pedagogy needs to be transformed into an advanced integrated
system of digital pre-production, virtual design and development, contextualised
within a cultural framework of ideas and critique. We are entering a brave new
world... If we, as fashion and textile educators, are too narrow in our thinking, we
will be left behind.

The paper highlights potential approaches to apparel and textile trade craft within
the framework of technology trends. Like many industries, including, graphic design,
media and publishing, apparel and textiles are being fashioned by; user driven
content, questions on the nature of consumption and the online shared feedback
loop. For the business of fashion, changes in access plus supply and demand are
presenting the impetus to analyse and critique existing approaches to teaching of
apparel and textile design and development in the tertiary environment.

The Digital Nati e

The so called Digital Native cohort, described by Palfrey and Gasser (2010) as those
born after the 1980, represent the first generation when identity and technology are
ine t i a l li ked. The esta lish a d o u i ate thei ide tit si ulta eousl i
the ph si al a d digital o ld (Palfrey and Gasser 2010, p.20). The oho ts leadi g
edge, maturated into a search engine, portal and browser based world with the
global adoption of Windows 95 and the rebirth of Apple Inc.
The next wave, the post Web2 embedded user is now making a multi channelled
cognitive presence in tertiary education. With this comes the expectation of a
pedagogy presented in an omni- channelled standard operating mode; the seamless
blend of the analogue and digital domains in a share and collaborative format. While
not entirely fitting to generalise generational traits according to birth cohorts, Zadie
Smith (2010) applied the typology of the 1.00 person vs the 2.00 person in her
analysis and review of the movie The Social Network.
The e spe t a de ade ei g e ated fo ot aki g the right sorts of paintings or
novels or music or politics. Turns out the brightest 2.0 kids have been doing
so ethi g else e t ao di a . The e ee aki g a o ld.

28
The Creati e A ateur
The rise of the creative amateur (Armstrong and Stojmirovic 2011) is a significant
force and driving the bottom up vs. top down design model. With vast quantities of
information, data, imagery and open sourced tools, tutorials and services able to be
accessed online 24/7, does it mean anyone a effe ti el a d effi ie tl desig ; the
tools of desig ha e e o e ai st ea (Armstrong and Stojmirovic 2011, p.7).
Simultaneously, the current global economic conditions and market pressures are
driving businesses to need to deliver outcomes cheaper, quicker, leaner and cleaner.
For industries with low barriers to entry, such as graphic design and apparel and
textiles, such a climate can lead to uncertainty and the miscomprehended
assumption that the role of the designer is somehow being superseded or at the very
least requiring less skilfulness. However, this scenario is far from the reality.
Ad a ed tools a d ate ials a e aki g the desig e s task e e o e o ple .
B addo k Cla ke a d O Maho ,p
The bottom up design model of DIYers and self-educators should not be viewed with
alarm, but rather its culture presents professionals and educators with significant
opportunities for new ways of engaging in and developing design practices,
processes, and methodologies as a means to be truly innovative. Therefore how do
fashion and textile educators respond? How might a pedagogy presented in an omni-
channelled standard operating mode appear? What tools are most useful, what
might soon be redundant? If educators are not proactive in understanding the
significance of these trends, and adapting to this shift in thinking, they will be left
behind. The next generation of fashion designers may just DIY it themselves.
While it must be acknowledged that today technology is incorporated within most, if
not all classrooms, such use is limited within the fashion context. Often technology is
superficially adapted to the back end of the design process. In this context
technology is taught as a tool for specific standard outcomes: such as bitmap and
vector base software for presenting concepts, illustrations, and technical
specifications. Rarely is technology seen as a stimulus to foster the front end of the
creative process.
So what are these data-rich digital tools? How might these transform the classroom
into new models of practice fashion and textile design? How might these digital
tools have the potential to facilitate the collaborative design environment?

Te h ologi al i orporatio
The approach in which technology is incorporated within the classroom needs to be
more broadly defined within the pedagogy, to seamlessly integrate and encourage
creative thinking and problem solving. Unless we understand the real value of data-
rich technologies and digital tools, and how to evaluate, critique and practice these,
we miss the opportunity to redefine how the fashion and textile industry might
operate and at worst we become marginalised.
Consequently, a range of tools and ways of thinking, often coined as design thinking
(Erlhoff and Marshall 2007) is needed. These should include for example;
Participatory Design – shifti g the i dset f o the i di idual to a ds et o ked,
co- eati e odels of aki g (Armstrong and Stojmirovic 2011, p.13).

29
Forecaster to Analyst – using quantitative research methods in trend forecasting to
e o e the ut I like it fa to .
The new business model - broadening the perception of beauty.
Wired, Coded and Open Source – the ability to tinker with the system and DIY. By
developing the capacity to interfere and rewrite the system, be it software, new
opportunities open up to construct new aesthetics.
Multiplicity and process-driven – think parametric and generative design, and the
shift from the static to the performative. For example consider the body as a
complex dynamic set of data, versus the currently held notion of having a standard
that ultimately is highly subjective and artificial.
The new green via additive and subtractive fabrication processes that offer the
potential to progress genuine alternative methodologies to pattern making and
garment design in combination with new materials.
Connectivity – the barriers of protecting proprietary knowledge, including education,
may dissolve, leading to the linking and integration of digital platforms, software,
and machinery, blurring the distinction between the professional and amateur and
flattening the hierarchy via the network.
Employ the usefulness of apparel design to redefine the boundaries of the fashion
industry by encompassing the experiential, health and well-being, protection,
disadvantage and equity, through problem solving and problem setting.
The revaluing of values – the need to operate within a cultural framework that is
political, economic, social and ethical. The context in which design is practiced and
developed must incorporate greater emphasis on the rationale and on
responsibilities.
Therefore how do we teach these tools and deal with the complexity that these new
approaches present to the 2.00 person? Contemporary learning and teaching
encourages a student centred, action learning approach within a constructive
alig e t f a e o k ith o side atio to Bigg s “OLO ta o o (Biggs & Tang,
2007) and experiential learning (Moon, 2004). The traditional master/apprentice is
no longer the most appropriate method. Rather, a collaborative team teaching
approach that is able to draw on a range of expertise (both within and outside of the
discipline and the university) is necessary. Consider multi-disciplinary approaches
lead to trans-disciplinary outcomes and the wicked solution (Underwood et al,
2009).
A range of strategies that could support such an approach includes, for example:
The flipped lass oo - students learn at there own pace, receiving instruction via
the web video lessons at home and go to class to demonstrate and consolidate their
learning (Webley, K 2012).
Mix it up – the classroom reflects the real workplace, where individuals work within
teams, and teachers teach in teams and draw on industry and researchers to expand
the depth knowledge and level of skills.
Criticism and critique – communication and justifying ones decision making is the
norm through a process of critical analysis and evaluation of design practice and
continual peer based learning and assessment.
Technology must support the learning of cultural ideas and ideals, and not be the
sole i te tio of the studio, the e e o i g the e ause it s the e a d I a
fa to .

30
The potential role of the fashion and textile designer within this model becomes far
greater, and opens up the possibility to redefine the discourse of fashion and textile
design. The usefulness (read employability) of the graduate is increased, enabling
graduates to make a world for themselves. The ability to problem-solve a range of
halle gi g issues athe tha e el ake stuff is the o je ti e. Co se ue tl it is
the ability to identify, critique and evaluate relevance from the whim is the
necessary and critical step for transformation.

‘efere es
Armstrong, H & Stojmirovic, Z 2011. Participate : designing with user-generated
content, New York, Princeton Architectural Press.

Biggs, J., & Tang, C. 2007. Teaching for quality learning at university: What the
student does (3rd ed.). Berkshire: Open University Press.

Erlhoff, M. & Marshall, T. (Eds.) 2007. Design dictionary: perspectives on design

terminology. Berlin: Birkhäuser Verlag AG, 2007

B addo k Cla ke, “. & O Maho , M. 005. Techno textiles 2. London: Thames and
Hudson, p136.

Moon, J. A. 2004. A handbook of reflective and experiential learning. Theory and

practice. London: RoutledgeFalmer.

Palfrey, JG & Gasser, U 2010. Born digital understanding the first generation of
digital natives, New York, Basic Books.

Smith, Z 2010. Generation Why? the New York Review of Books [Online]. Available:
http://www.nybooks.com/articles/archives/2010/nov/25/generation-
why/?pagination=false#fnr-3 [Accessed 2 July 2012].

Underwood, J, Lynas, E, Adams, L and Beale, C 2009, 'Transformative textiles', in L.

Fennessy, R. Kerr, G. Melles, C. Thong, E.Wright (ed.) Cumulus 38 Degrees South
2009, Proceedings of the Cumulus Conference, Melbourne, Australia, 12 - 14
November 2009

Webley, K 2012 Reboot the School, Time Magazine, issue July 9, p32-37

31
 The ig pi ture: de elopi g a sustai a le desig
i or for o li e irtual deli er

Angela Finn
Queensland University of Technology, Australia

Kim Fraser
Auckland University of Technology, New Zealand

Contents
Abstract................................................................................................................................ 33
Introduction ......................................................................................................................... 33
Background and Methodology ............................................................................................. 34
Conclusions and Further Research ........................................................................................ 39
REFERENCES ......................................................................................................................... 40

32
Abstract
This paper provides an overview of ongoing research which aims to explore methods
of maintaining quality educational outcomes within the current limitations of an
environment of increasing costs and competition. We argue that the repurposing of
e isti g s ste s su h as Bla kBoa d A ade i “uite™ p o ide a oppo tu it to
deliver fashion programmes which are more flexible in terms of delivery and space.
Equally virtual delivery methods can be more international in scope and content,
potentially overcoming barriers of geographical isolation from the international
research community which remain a factor for places such as New Zealand and
Australia. This paper articulates new understandings from previous research that
investigated the potential of re-designing existing assessment and utilising AUT
Online as methods of overcoming a problem of limited studio space (Finn & Fraser,
2007). Upon reflection of the observations made during the period of the original
stud , i the o te t of Wolf i a ge & Celsi s (2002) three waves of change in the
adoption of technology in the learning environment, we were able to identify the
key barriers to technologically enhanced learning. The aim is that these findings will
support future attempts to contemporise the classroom through understanding
barriers to actioning this programme change.
Key Words: virtual learning environments, studio teaching, sustainable design,
fashion education, technology enabled learning

Introduction
An ongoing issue for providers of competitive tertiary education in the area of art
and design remains the availability and cost of physical teaching spaces and the
complexity of staff timetabling involved in maintaining an undergraduate degree
programme. Prior to 2006, attempts to restructure the Bachelor of Design at AUT
University in Auckland, New Zealand, resulted in a disconnection between creative
and technical skills within the Fashion strand of the degree. This was the result of a
silo approach whereby design was delivered separately to patternmaking and
garment construction with different assessments and learning outcomes in each
area. This paper discusses the development of a current research project – The Big
Picture: Developing a Sustainable Design Minor [SDM] - which explores the potential
use of newly democratised video o fe e i g te h olog , su h as “k pe™, ith
existing commercialized packages commonly used in the university environment
su h as Bla kBoa d A ade i “uite™. “DM is the latest ite atio of a o goi g
research project, entitled The Big Picture: An integrated approach to fashion design
education, which commenced in 2007 (Finn & Fraser, 2007). This research is action
based and utilises the methods of reflective practice and case study to explore the
adoption of technology in the studio teaching environment within the fashion
department at AUT University in Auckland, New Zealand. The outcome of this
research is the identification of key barriers to technologically enhanced learning
which were observed during the period of the original study between 2007 and
2009. The ad hoc development of The Big Picture project has strong synergy with the
three waves of change involved in faculty adoption of technology in the classroom as
discussed by Wolfinbarger and Celsi (2002). The focus of this paper is to identify the
key aspects of this ongoing research which align with these 3 waves of development
in order to reflect on the future direction for creating technology enhanced learning

33
environments which challenge the accepted models of traditional studio teaching
and offer potential for more inclusive, democratic learning spaces for atypical
fashion students. The aim is to identify these barriers in order to gain a better
understanding of why the o igi al p oje t has failed i te s of e o i g est
practice within the fashion department. The intention is that these findings will
support future attempts to bring studio teaching into a contemporary context.

Background and Methodology

In 2006, within the fashion studios at AUT University in Auckland, the highest level of
te h olog a aila le fo use as a old s hool OHT p oje to - without an
accompanying projection screen. In hindsight this lonely projector - démodé even at
that time – embodied an underlying attitude toward introducing technology into the
studio teaching environment.1 Following a very long year, of coping with an almost
complete lack of technology to support teaching, the authors acknowledged that
something must be done. In 2007, the first digital projector was installed in a tutorial
room within the department and so began the development of an ad hoc research
project which has since been titled The Big Picture (Finn & Fraser, 2007). Since then
the project has continued to quietly develop as a normal part of teaching practice
and continues to evolve at the time of writing but has not become best practice
within the fashion department. In order to better understand why, we re-examine
The Big Picture project in the context of the three waves of change (Table 1)
identified by Wolfinbarger and Celsi (2002) as follows:
Faculty adoption patterns move through three identifiable stages. In wave 1,
technology serves a support function that improves efficiency but does not
significantly affect teaching. During wave 2, teaching technology enables faculty to
effi ie tl i o lass oo a ti ities usi g e te h ologies. Not u til a e ,
however, does discontinuous innovation occur. Wave 3 is characterized by unique
applications that result in extending the classroom in ways that result in a more
current, active, and interactive learning environment (p. 64).
As a pa t of thei a al sis, Wolfi a ge a d Celsi also ide tif …fi e fa ult adopte
seg e ts: i o ato s, isio a ies, ea l adopte s, i o e s, a d det a to s (2002,
p. 66). In respect of this insight we re-examine this research project in a different
o te t. The esea h uestio is: hat e e the likel auses of the failu e of this
project, what were the contributing factors and how might these be overcome in
respect of ongoing research currently underway?
first & second waves of change: introduction and innovation
In the year 2000, when the Auckland Institute of Technology gained university status
to become Auckland University of Technology (AUT), new degree programmes were
introduced to mark the conceptual shift from technical college to academic
institution (Finn & Fraser, 2007). As a part of this migration the original Technical
Apparel degree was re-written and encompassed within a new Bachelor of Design
degree. A central aspect of the new curriculum was to separate core elements of
design education, which could be delivered to all undergraduate students in larger
student groups, from specialist papers which were to be delivered to smaller groups

1
The term ‘technology’ here is used in the sense of ‘technology to enhance teaching and learning’ in
the design studio and excludes such as technologies as Gerber™ Accumark™ Computer Aided Design
and Mac™ and Windows PC™ student laboratory computers.

34
within individual departments. However, attempts to restructure the Bachelor of
Design without addressing the physicality of specialist studio spaces, class sizes,
staffing and timetabling, resulted in a disconnection between creative and technical
skills within the Fashion strand of the degree. This silo format meant the actual
delivery of design took place in a separate class and time with a stand-alo e desig
Lecturer, while patternmaking and garment construction operated in specialist
classrooms at different times with discipline specific staff. For example: at that time,
Core Studio Art and Design (115100: Semester 1, Year 1) was timetabled across four
student groups consisting of 100 students, over 3 x 3 hour studio and tutorial
sessions separated by several days. With most staff timetabled to repeat the delivery
2 to 4 times in the week: a slayer to any hope of spontaneity in teaching. In addition,
students were burdened with a raft of disconnected formative and summative
assessment items.

Table 1: Waves of Change based on Wolfinbarger & Celsi (2002)

Description Characteristic Behaviours
1st Wave Adoption of technology P i a il ehi d the s e es a d ot
to support usto e fa i g p. .
administrative Te h ologi al tools a e used to fa ilitate
university functions teaching, yet they do not significantly
such as enrolment and alter the teaching/learning model or
accounting provide the kinds of dramatic and
significant change that can occur in
su se ue t a es p. .
2nd Wave Mi o i g - Early engagement with 2nd Wave
technology is used to changes involves the use of technology
replace traditional to replace more traditional teaching
teaching methods methods. In the case of The Big Picture
Early Innovation – project this included creating PowerPoint
technology is used to presentations based on existing OHP
begin to enhance the transparencies – largely used for content
teaching and learning transfer.
environment Later 2nd Wave change involves early
innovation where technology begins to
enhance the learning environment. In
The Big Picture project this occurred
when we realised that the technology
could be used to make content more
dynamic and international. We also
identified the in-class technology could
be effectively connected to other
systems, such as BlackBoard Academic
“uite™ to e te d the lea i g e pe ie e
beyond the physical classroom.
3rd Wave Technology used in The progression from the 2nd to the 3rd
fu da e tall e wave of change in the adoption of new

35
 a s as a esult of a te h ologies a o u ot o l he
pe iod of ti ke i g new technologies are introduced that
those faculty who are change behaviour but also when existing
both innovators (p.66) technologies are used in fundamentally
and visionaries (p.66). e a s p. .
The natural progression to visionary
innovation, with the potential to result in
a paradigm shift in teaching and learning
within the university, is highly dependent
on the behaviour of detractors. This
group tend to be negative and vocal
about early failures of 2nd wave
interventions which can prevent the
transition to the 3rd wave of change
from taking place.

In contrast, the new approach which aimed to recon e t desig a d ake ,

provided an integrated Major Studio Project Brief which was developed to emulate a
more traditonal, integrated design project with an aim to improve student learning
and design outcomes (Finn & Fraser, 2007). Unfortunately the physical classroom
spaces were not able to be changed (due to timetabling issues of space, student
numbers and staffing) so it was still more practical to provide fully timetabled
specially equipped spaces for both pattern and construction, rather than dedicated
“tudio spa e. I a effo t to idge the “tudio gap, the ti eta le as adjusted to
allow all students to attend a Lecture followed by Tutorial sessions. In this manner
desig as deli e ed as a se ies of isual le tu es, usi g Po e Poi t follo ed by
one-to-one tutorials and group critiques, which maximised the contact hours and
reduced the need for a dedicated Studio space. Although the first stages of the
project utilized the technology to replace the existing OHT content, during this very
successful mirroring of best practice principles, we began finding ways to enhance
the learning environment, for example lesson information was created as digital
esou es a d uploaded to Bla kBoa d A ade i “uite™; Po e Poi t p ese tatio s
were enhanced using web links, YouTube and animation. This meant that we were
able to use international content during class presentations and students were able
to access these links on demand. The Big Picture project was an example of how 1st
wave interaction evolved into 2nd wave early innovation where technology begins to
enhance the learning environment.
3rd Wave: visionary innovation enabled by technology
The progression to 3rd wave visionary innovation is not as natural or incremental a
progression as between the 1st and 2nd waves of change. Characteristic of this stage
is the transformation of the use of technology beyond any measure of traditional
classroom use. In this phase it is necessary for a paradigm shift to occur whereby the
faculty members who are visionary innovators begin to see new possibilities for
ho te h olog a ha ge the lass oo e pe ie e a d i so e ases the
a ade itself (Wolfinbarger & Celsi, 2002, p. 66). The final leap of faith, from the
old-s hool o halk oa d odel (Friedland, Knipping, Schulte, & Tapia, 2004, p. 9)
to something which is at once neither better nor worse, is more risk intensive and

36
therefore has a higher likelihood of failure. A key barrier to making the transition
from wave 2 to wave 3 are faculty members which are best described as detractors.
As Wolfinbarger and Celsi (2002) explain:
These faculty members like to do what they already know how to do. They will
actively defend their non use of technology as superior, emphasising, for instance,
the importance of face-to-face contact over email contact or discussion groups.
Detractors can make reasonable points as some technological experiments of
innovators and visionaries fail, and previous ways of doing some activities
occasionally retain one or more advantages over new ways (p. 76).
The detractors are describes as having a more powerful voice to prevent a move into
visionary innovation which is likely to occur in the third wave because of a lack of
understanding at faculty level about waves of change. During Wave 2, comparisons
between old school traditional studio methods and what might have evolved into
early wave 3 visionary innovation are invalid. These comparisons can only focus on
the negative aspects of early wave 3 experiments: the possible benefits of allowing
isio a ies to uild a d test e e ethods do t et e ist. A u de sta di g of this
facet of producing change could encourage more support for visionary innovation,
by allowing those in authority to make informed decisions around technology for
enhanced learning – aware of both the risks but the potential and as yet unknown
rewards, and could bring about actual change at a fundamental level.
A central aspect of barriers to engaging with new technologies in the teaching
environment relates to overcoming a deeply seated tradition of a more personal
teaching style. This connection has also been identified by Hanrahan et al., in their
report on Interface: Virtual environments in art and design conference held in Dublin
in September, 2007 (Hanrahan et al., 2009). The authors explain that:
Gi e the isual a ts lo g t aditio of i te si e o e-to-one contact between master
and apprentice and, more recently, lecturer and student, such resistance may not be
surprising but is surely worth overcoming, at least in terms of initiating dialogue
(p.101-102).
The observation that can be made here is that the romanticism of a
master/app e ti e lea i g e i o e t ith o e-to-o e o ta t is a o st u t
which has struggled to survive the original migration (or absorption) of the art
college into the university environment. Therefore, not only are these detractors
exhibiting latency in terms of experimental teaching practice for the 21st century,
involving the adoption of new and emerging technologies, they also appear to be
struggling to catch up with 20th century teaching practices of the university system.
Ironically, the proposed use of technologies for the SMG project aims to re-
personalise the teaching/learning paradigm and may offer exciting opportunities to
return to a version of master/apprentice teaching which is otherwise impossible
given the changes to the physical classroom o i this ase studio hi h ha e ee
dis ussed he e. The use of te h olog hi h is ha itual to stude ts e e da
eha iou , su h as so ial edia platfo s i ludi g “k pe™, is a atte pt at
i gi g hat stude ts do i fo all i to thei fo al lea i g e pe ie e
(Hanrahan, et al., 2009, p. 101). These methods are how students currently keep up
with the latest developments in their social environment: it makes sense to use
these tools to bridge the gap between this dynamic environment and a static old
school image of the university. By focusing on the negative aspects of early

37
experimental teaching practices which attempt to incorporate emergent technology
the potential benefits, such as internationalisation, immediacy of programme
content and the opportunity to create enhanced student learning experiences, are
often overlooked.
In 2012, the authors were awarded a joint Learning and Teaching Development
Fellowship from AUT University to support the further development of The Big
Picture: Developing a Sustainable Design Minor for Virtual Online Delivery [SDM]
project. The proposal pushed the boundaries of the original research project from
wave 2 level innovations to wave 3 visionary innovations. The purpose of the SDM
project is to explore the potential of using, existing under-utilised systems such as
Bla k oa d A ade i “uite ™, i o i atio ith lo ost te h ologies desig ed
fo i te et usage su h as “k pe ™ to i ease ea h a d affo da ilit fo AUT
University programmes by aiming to reduce costs and increase competitiveness. This
project addresses key issues for the school of Art & Design at AUT University, which
include the increasing demands on physical space, redundancy of studio teaching
materials and barriers for distance and flexible delivery options. All of which are also
related to the key issues faced in higher education in the 21st century (Table 2) as
identified by Gamage & Mininberg (2003, p. 195). The aim of this project is to
develop and test a method of virtual/online interaction to enable the delivery of a
developing interdisciplinary sustainable design minor in the school of Art & Design.
While the technologies which are being used in the development of the project are
already in existence the gap in knowledge that this research addresses is the way in
which these existing technologies are used. In the context of this discussion, the
resultant model has the potential to not only change the classroom experience but
has already resulted in a paradigm shift at university level. At the time of developing
the fellowship proposal for the SMG project, existing discussions on the
development of a major/minor programme for the Bachelor of Design had stalled as
a result of the lack of a workable method to action this programme change. Our
proposal for the development of a cross disciplinary minor programme, enabled by
technology enhanced teaching and learning, could succeed where previous efforts,
which we may have been limited by old school thinking - have proven unsuccessful2.

Table 2: Key Issues for Higher Education in the 21st Century (Gamage & Mininberg,
2003)
This report focused Costs of higher education to students
on 3 dominant issues Technology and instructional delivery
in Higher Education Faculty roles and rewards

Key directives from The higher education community should

The Glion
Declaration: The
university of the
millennium are
directly related to the
ai to C eate e i tellectual alliances
within the university and new partnerships
outside it…
Employ new information technology (IT),
which allows the organisation of these

2
The authors were instrumental in introducing discussions and working groups aimed at developing formal minors
for the Bachelor of Design (Fashion) programme in 2007/2008. These discussions were tabled as a result of a
change in management.

38
 adoption and use of partnerships on a grand scale, whether
technology within locally focused or globally
the university ased…e ou age fle i ilit ,
entrepreneurism and experimentation to
capture the full capacity of these new and
e pa di g te h ologies…
Provide new structures, flexible career
paths and selective support for new
patterns of creative inquiry, effectively
lea i g a d espo si le pu li se i e…
(p.195).
Summary of key The issues e [highe edu atio p o ide s]
issues and the case need to address are significant and they
for adopting will challenge us to think creatively and to
emerging craft responses that reflect the very best
technologies that the academy has to offer. We must
find ways to accommodate access for all
students, at costs that are affordable to
every layer of our economic profile. Over
delivery systems need to be enhanced and
refined to capture the advantages of the
new technologies without sacrificing the
ualit of ou e dea ou p. .

Conclusions and Further Research

This paper has discussed some of the significant observations which have been made
as a part of the ongoing case study of an action based research project which has
spanned the past six years. The opportunity to revisit the beginnings of this research,
i the o te t of Wolf i a ge & Celsi s (2002) three waves of change in the
adoption of technology in the learning environment has provided some valuable
i sights i to the su se ue t failu e of the se o d a e i o atio s hi h e e
made as a part of The Big Picture Project in 2007. A key reason for the failure of
these second wave innovations to make a natural transition and emerge as third
wave visionary innovations was a combination of three key conditions: firstly, the
significant role of detractors in the adoption of technology enhanced learning
environments; Secondly, a lack of knowledge of contemporary theory around
technology enhanced pedagogy, the strategic plan of the university and best
teaching practice in the 21st century; Finally, a general lack of knowledge around the
waves of change which characterise visionary innovation through the adoption of
technology to enhance teaching and learning. Unfortunately, a combination of these
conditions has impacted on third wave innovation in the studio teaching
environment within the fashion department at AUT; this is despite a 98% positive
student feedback on teaching review and improved student learning and design
outcomes for Core Studio Art & Design in semester 1 – 2007. Fortunately, ongoing
support of senior staff members at the university have provided us with the freedom
to ti ke ith e isti g te h ologies and use them to develop a cross disciplinary

39
minor for virtual online delivery. This is leading to an opportunity for visionary
innovation which, as Wolfinbarger & Celsi suggest, has the power to change the
academy itself (2002, p. 66).

REFERENCES
Finn, A., & Fraser, K. (2007). The big picture: an integrated approach to fashion
design education. Paper presented at the Fashion Industry New Zealand (FINZ)
Annual Education Conference : The Broader Perspective of Design.
http://eprints.qut.edu.au/40844/
Friedland, G., Knipping, L., Schulte, J., & Tapia, E. (2004). E-Chalk: A lecture recording
system using the chalkboard metaphor. Interactive Technology and Smart Education,
1(1), 9-20.
Gamage, D. T., & Mininberg, E. (2003). The Australian and American higher
education: Key issues of the first decade of the 21st Century. Higher Education,
45(2), 183-202. doi: 10.1023/a:1022488220850
Hanrahan, S., de Pietro, P., Brown, L. H., Haw, A., Malins, J., Milojevic, M., et al.
(2009). Interface: Virtual Environments in Art, Design and Education'. Arts and
Humanities in Higher Education, 8(1), 99-128.
Wolfinbarger, M., & Celsi, R. L. (2002). Discontinuous Classroom Innovation: Waves
of Change for Marketing Education. Journal of Marketing Education, 24(1), 64-72.
doi: 10.1177/0273475302241008

40
 What are the Geo etri Properties of Dart
Ma ipulatio i Fashio Patter utti g?

Mark Liu
University of Technology Sydney

Contents
Introduction: ....................................................................................................................... 42
Patternmaking:.................................................................................................................... 42
Challenging Traditional Patternmaking: ............................................................................... 44
Evidence, experimentation and observation over reputation: ............................................. 44
Method: .............................................................................................................................. 45
Background to Darts and Dart Manipulation: ...................................................................... 46
The Dilemma with Dart manipulation Vs Bust Point Manipulation:...................................... 46
Investigating Traditional Bust Point Dart Manipulation: ...................................................... 47
A st o g s P oof: .............................................................................................................. 49
Conclusion: .......................................................................................................................... 59
Bibliography: ....................................................................................................................... 59

41
Abstract:
Da t a ipulatio is a fashio patte aki g te h i ue so u i uitous that it is a el
challenged, yet so pervasive it controls the look, fit and feel of a garment. As patternmaking
systems are accumulations of traditional techniques, few have undergone the scrutiny of a
scientific framework. This paper addresses dart manipulation from a geometric perspective and
attempts to understand its underlying principles. Through a series of paper and fabric models the
accuracy of traditional techniques is challenged and shown to have limitations. This opens up the
possibility of creating a new geometry based patternmaking system with greater accuracy and
new creative possibilities.

Introduction:
In fashion design such emphasis is placed on the design that the patternmaking techniques can
e easil o e looked a d a e a el halle ged. Yet patte aki g s i pa t is so pe asi e that it
controls the look, fit and feel of a garment. It enables the creative expression of fashion
designers. It also defines their limitations, as it is not possible to create a design you cannot
make a pattern for. In high fashion so much emphasis is placed on the innovative ideas behind
design that few ever challenge the patternmaking system itself.
As a fashion designer and patternmaker I was dissatisfied with existing pattern making systems.
Patternmaking systems are built on accumulations of traditional techniques instead of a rigorous
scientific approach (Kwong and Fan 2004, p201). My initial motivation to test and document
these systems was because different systems contradicted each other and certain techniques
seemed to run counter to mathematical p i iples of geo et . I de ided to test ust poi t da t
a ipulatio usi g a se ies of pape a d fa i odels. B e pe i e tall testi g o e of
patte aki g s ost fu da e tal te h i ues I hope to u de sta d it f o a athe ati all
geometric point of view. From the results I propose that by understanding patternmaking from a
geometric point of view we can build a more effective patternmaking system.

Patternmaking:
Traditionally patternmaking systems have been based on linear measurements of the body and
used to approximate a pattern (Kwong and Fan 2004, p196). Over time these approximations
have been refined into many different systems of pattern making and these have become
prevalent in the fashion industry (Cooklin 1997, pp42-48). Essentially it is a way of constructing a
three dimensional shaped surface around the body from flat shaped pieces of cloth (see figure
1).

42
Multiple pa els of flat fa i alled patte pie es a e se togethe to eate a th ee-dimensional
form. The edges of the patte pie es joi togethe eati g shaped sea s o the od alled st le
li es . The su fa es of ea h patte a e a ipulated. B e o i g t ia gula shaped edges alled
da ts out of a flat su fa e it e o es o i al o o e shaped see figu e . Over time pattern makers
ealised that the ould o e the st le li es a ou d the od hile appea i g to ai tai the sa e
th ee di e sio al shape. This p i iple is alled da t a ipulatio a d is a fast a of eati g a
variety of designs (see figure 3). Dart drawn on flat material.

Dart drawn on flat material. Dart Constructed in three dimensions. The Dart now has a three-dimension
form.

Figure 2: Patternmaking and conical shapes:

43
Figure 3:
A range of different designs created from a single basic block pattern. Armstrong (2010 p74)

Challenging Traditional Patternmaking:

There are a small number of patternmakers and fashion technologist who question the
fundamentals of existing patternmaking systems. They take a more analytical approach to
patternmaking arguing that is built on an accumulation of traditional techniques instead of a
rigorous scientific approach (Kwong and Fan 2004, p201). Some are critical of how traditional
techniques use simplistic linear measurements that are unable to map the complex three-
dimensional form of the body (Whife 1965 1-16). Others note that even the best patterns are
approximations and have to be tested by trial and error (Kwong and Fan 2004, p196). Many of
these methods suggest the use of complex computer algorithms for computer aided design or
three-dimensional scanning, but these approaches are overly technical and not practical for
human patternmakers (Kwong and Fan 2004, p206 - 225). There are also patternmakers who
challenge the consistency of traditional techniques and propose alternative techniques (Liechty,
Rasband and Pottberg-Steineckert 2010, pp117-120). Their new solutions are addressed to the
practitioner and offer some simplification of the process, but they offer little systematic insight
and may introduce errors distinctive of the original system. They offer no new insight into how
the system works or why they make patterns the way patternmakers do. The practitioner is
simply offered an alternative list of instructions to follow.

Evidence, experimentation and observation over reputation:

44
Instead of comparing the reputations of different patternmaking systems we need to look at the
evidence itself. I propose that by applying a rigorous systematic approach of experimentation
and observation on these different techniques it may be possible to find out how and why they
work. Instead of relying on anecdotal evidence and explanations, I propose that using the
mathematics of geometry to understand these principles will give us greater insight. Using an
understanding of the fundamental principles of patternmaking may make it possible to build a
more effective patternmaking system based on mathematical geometry.

Method:

As an experienced fashion and textiles practitioner who is trying to bring a systematic approach
to traditional practice my method is a hybrid of the disciplines of: fashion design, fashion
patternmaking, fashion draping, textile design, textiles technology and materials science. In
order to capture the richness of experience as a practitioner I have adopted an action research
approach. My research would be positioned as an industry insider analysing their own practice.
This way of working is a modified version of the action research spiral (Kemmis, 1982, p 7).

It follows an iterative cycle of: 1.

1. Motivating Observation: Make and observation of a

dilemma.
2. Plan: Develop a plan of action to test
the underlying principles of what
is happening.
3. Experiment: Experiment to test the plan.
(involving patternmaking and
garment construction)
4. Observe: Observe the effects of action in
order to understand the
underlying properties of a
dilemma.
5. Reflect: Reflect of these effects as a basis
for further planning, subsequent
action and on through a
succession of cycles.

45
However, one of the weaknesses of the individual in action research is that their research can be:
impressionistic, highly biased and detached from the scrutiny of other practitioners. In order to
address these problems and lend some validity to my research I will ground all my findings in
existing scientific and mathematical principles.
This process of experimentation followed three stages. Stage 1 started by testing traditional
techniques with paper models. Stage 2 then progressed to revising the original technique to
make it geometrically equivalent and testing with paper models. Stage 3 finally compared the
effectiveness of the traditional technique with the revised technique using fabric models.

Background to Darts and Dart Manipulation:

Understanding the underlying principles of creating cone shaped surfaces from flat fabric is the
ke to u de sta di g da t a ipulatio . A Da t is a t ia gula edge e o ed f o a su fa e
in order to make the surface more cone shaped (see figure 5). This is an effective way of shaping
flat cloth into three-di e sio al shapes. The Ape is the tip of the da t a d if ou easu e the
a gle et ee the legs of the da t ou get the Da t A gle . The lo atio of the ape also has
special properties, as it determines the location of the tip of the conical shape.

The Dilemma with Dart manipulation Vs Bust Point Manipulation:.

When manipulating darts the goal is to change the style line of the dart while maintaining the
same three-dimensional form (see figure 6). The initial motivation for this investigation was a
dilemma I had with the traditional method of bust point manipulation. In most dart

46
manipulations maintaining the geometric equivalence of the dart is essential. In order to make a
legitimate dart manipulation you must maintain the same apex location for the dart and
ai tai the sa e da t a gle. The e eptio to this ule is Bust Poi t Ma ipulatio he e ou
a e allo ed to o e the ape of the da t a a f o the ust poi t the fullest part of the bust)
when creating a new style line (see figure 7). If you follow traditional techniques you accept this
rule and apply it. However intuitively I felt that this rule violated the principles of geometry and
these two systems were in conflict. It made me question if I should trust the traditional
technique or follow the rules of geometry. It was this dilemma which motivated me to question
patte aki g s ost fu da e tal p i iple.

Investigating Traditional Bust Point Dart Manipulation:

The i estigatio ega looki g i to the p oof gi e A st o g s patte aki g te t.

A st o g s te t as hose e ause it is ell itte a d atte pts to ake st o g logi al
arguments of why its techniques work. This method is the same technique used in many other
patternmaking books and is representative of traditional patternmaking techniques. It is also a
common patternmaking reference book which makes it the obvious choice to investigate.
A st o g defi es Da t Ma ipulatio as the p i iple he e A da t a e t a sfe ed to a
lo atio a ou d the patte s outli e f o a desig ated pi otal poi t ithout affe ti g the size
o fit of the ga e t. A st o g P . Da t a ipulatio a ou d the ust e ui es
making dart manipulatio s a ou d the ust poi t hi h is the fullest pa t of the ust see
figure 8). Using bust point as the apex it is common practice to move the apex location of the
dart that lies an inch away from bust point up to bust point. The dart manipulation is then made
to a different location. The dart apex is then moved an inch away from bust point and this is seen
as a legitimate manipulation which maintains equivalence. (See Figure 9 which is also a succinct
summary of the technique)

47
Figure 8: Traditional bust point manipulation. Armstrong (2010 p79)

Figure 9: A summary of Traditional bust point manipulation.

The rational for moving the apex of the dart is that if the dart crosses the bust point it will create
a pointy shape on the bust instead of a desirable smooth shape (see figure 10). As a result the
conical shape of the pattern is no longer centred on the fullest part of the bust. The deformation
of the fabric when placed against the body creates a desirable curved shape. This convention to
move the apex of the dart away from bust point is an arbitrary measurement and can vary
depending on the patternmaking system being used. It can be anywhere from 5/8 of an inch to
an inch. What all systems have in common is that this measurement is consistently used. For the
purposes of this paper I shall refer to this arbitrary measurement as one inch. I shall refer to this
as Traditional Dart Manipulation.

48
Ar stro g s Proof:

The Armstrong technique offers two different proofs to demonstrate that the original pattern
and the final manipulation are same three dimensional shape. The first technique is to compare
the dart angles of all the different pattern pieces, as they should all have the same dart angle.
The second test is to stack the manipulations on top of each other so their edges all aligned.
They should all be exactly the same form and fit together perfectly. This is a proof of principal by
Armstrong (2010 p73) (see figure 11). From the traditional explanation I accepted the need to
create the desirable curved form, yet was unconvinced that this manipulation had duplicated the
original three-dimensional pattern.

I estigati g the “t et h p ope ties a ate ial.

49
The traditional explanation for why bust point manipulation works is that moving the apex of the
dart a consistent one inch away from bust point allows the material to stretch around the curves
of the body. It is assumed that this new pattern created by the dart manipulation shape will
recreate the exact three-dimensional form when placed on the body. I thought that this
te h i ue failed to o side that diffe e t ate ials a ha e diffe e t st et h p ope ties.
Some materials will stretch more than others and this would change the shape of the pattern.
Deciding that materials with different stretch materials were unpredictable I tried circumventing
the use of this variable material. Using paper models would be the best test of a dart
a ipulatio s ste as it does ot p o ide a tole a e fo the ate ial s st et h a d esults i
a more accurate manipulation (see figure 12). I realised these models would be valuable as their
patterns would solely rely on geometric equivalence and not stretch at all.

Stage 1 Plan:
Instead of just assuming that Traditional Bust Point Dart Manipulation works it was time to test it
and see if it could reliably reproduce three dimensional forms (see figure 9). All darts were
created from a standard block bust dart pattern which was digitised on a computer program.
This allows exact copies of the pattern to be printed. Pattern pieces are printed using the same
file setting and batch of 80 GSM paper to ensure the consistency of the paper models. For one
odel t a e pape as used to gi e a ette ie of the patte s li i g up. A st o g s
traditional bust point manipulation technique was followed and documented with paper models
(see figure 13).

50
51
Stage 1 Observation:

Surprisingly, the patterns do not fit together (see figure 14). They may have the same length of
edge, but they have completely different three-dimensional forms. After repeating the same
experiment with different style lines in (paper and fabric) I observed each dart manipulation
created a completely different shaped pattern piece (see figure 15). This means that when you
make a pattern using bust point manipulation you end up with a completely different shape
depending on which direction the dart is. It seems that the traditional technique does not
maintain geometric equivalence.

52
Stage 1 Reflect:

Learning from this experience I saw the need for a technique that would fulfil the criteria of the
Armstrong (2010 p73) proof of principle. It must work on a range of materials with different
stretch properties including paper and fabric. The only way to ensure an accurate bust point
manipulation would be to make sure the original pattern always maintained the same three-
dimensional form as the manipulated pattern. It would be more reliable to create a dart
manipulation that was geometrically identical so that even if the fabric had flexible properties
you could at least replicate the same dart. This would mean that an identical dart could be
reproduced and would have a better chance of maintaining the same surface tension as the
original.

Stage 2 Motivating Observation:

A key finding of the fi st as e pe i e t as the i po ta e of ai tai i g geo et i

e ui ale e he appl i g a da t a ipulatio . B ai tai i g geo et i e ui ale e it
ensures that a pattern has the original shape even though the style lines have been re-
positioned. In traditional bust point manipulation the position of the apex is moved to avoid
having a point conical shape on the body. I propose that once the patternmaker has moved the
apex of the dart to give it a smooth curved shape they maintain this three dimensional shape.
These new geometrically equivalent dart manipulations should re-create the exact three
dimensional form of the garment by maintaining the same apex location and dart angle. This
revised geometrically equivalent technique should be more accurate for bust point manipulation.

Stage 2 Planning:

This second experiment used the exact same materials and conditions as the original
experiment. This was done to maintain consistency when comparing them.

53
54
Stage 2 Observation:

55
In this demonstration of revised bust point manipulation it shows that the manipulation does a
much better job of fitting the shape of the original (see figure 17). This is in contrast to the
traditional bust point manipulation (see figure 14) whose form will be arbitrarily determined by
the direction of the dart instead of being geometrically equivalent to the original. This
geometrically equivalent form does not need to be distorted into a different shape when
applying the Armstrong test, but is an exact copy of the original.

Stage 2 Reflection:

After seeing the success of the geometrically equivalent technique it would be good to test both
of these techniques on fabric to see which one is more accurate.

Stage 3 Motivating Observations:

The previous experiments successfully show how geometric equivalent dart manipulation is
superior in maintaining the same three-dimensional form compared to traditional bust point
manipulation when made from paper. This demonstrates the principle for paper properties, but
not for fabric which is more flexible. To test if the same principle applies to materials with
flexible properties I have applied the same principle to fabric models. I hoped that
demonstrating the success the new geometrically equivalent technique on paper as well as fabric
would be a way to demonstrate which technique was superior.

Stage 3 Plan:

Due to the complexity created by the stretch properties of fabric these techniques needed to be
tested with fabric models. I chose a lightweight calico which is the material patternmakers
generally use for prototyping patterns. These are the exact same paper patterns as from the
previous experiment. They are used to test geometrically equivalent bust point manipulation as
compared to traditional bust point manipulation.

56
57
58
Stage 3 Observations

These experiments demonstrate that on a material with flexible properties, the geometrically
equivalent approach is more accurate and consistent that the traditional bust point
manipulation. Using the Armstrong test of fitting pattern pieces on top of each other the
traditional bust point manipulation creates different shapes and requires the fabric to be
stretched and distorted. The geometric equivalent design replicates the exact fit and does not
stretch the fabric (see figure 18 &19).

Conclusion:
These investigations demonstrate that through the use of experiments and geometric analysis
even the most entrenched ideas in patternmaking can still be improved. If a principle as
fundamental as dart manipulation has inaccuracies, it makes you consider what else can be
improved? These discoveries have made me question everything I have ever learned about
patternmaking. Patternmaking techniques such as adding ease, blending and truing all seem to
disregard the strict rules of geometric equivalence and allow the patternmaker to free hand
draw a pattern. Would it be possible to create more accurate techniques after applying
geometric analysis? It also makes you consider that dart manipulation has strict rules, but
manipulations with curved darts or with contour tailoring rely on trial and error fittings. This is
because their manipulations are not accurate enough, but what if we could move contours with
the geometric precision of darts. Imagine that time and money that could be saved by having to
do less trial and error fittings. Imagine how a patternmaking system based on geometric
equivalence could more accurately work with 3D scanning technology for better fitting clothing.
This would have the potential to create a new generation highly sophisticated patternmaking
techniques.
Experimentation and geometric analysis give us the opportunity to re-write all the rules of
patternmaking. Existing patternmaking systems have small inaccuracies built into the system
which limit what is possible. A new system built on geometry could overcome these limitations
and make possible a new generation of high fashion and high performance garments. This paper
may be a stepping-stone to a new more sophisticated pattern making system based on the
principles of geometry.

Bibliography:

Armstrong, H.J. 2008, Draping For Fashion Design, Fairchild Publications, New York.

Armstrong, H.J. 2006, Patternmaking For Fashion Design, Pearson Prentice Hall, Upper Saddle
River, N.J.

Bray N, 1978, Dress Fitting: Principal and Practise, Lockwood, London.

Cooklin, G. 1997, Garment Technology For Fashion Designers, Blackwell Science Ltd, Oxford.

Dout , H.I. , Visual “o ato et i health elated esea h , J Ala a a A ade of

Science, Jan.

Efrat, “. , The De elop e t fo a ethod fo ge e ati g patte s fo ga e ts that

o fo to the shape of the hu a od , Do to al disse tatio , Lei este Pol te h i .

Herr K. 2005, The action research dissertation: a guide for students and faculty, Sage
Publications, California.

59
Fan J., Yu W. & Hunter L. 2004, Clothing appearance and fit: Science and Technology.

Woodhead Publishing Limited and CRC Press LLC, Cambridge, England.

Kemmis S. The action research planner: Action research in curriculum Deakin University, Victoria.

Liechty E.G. 2010, Fitting & pattern alteration: a multi-method approach to the art of style
selection, fitting, and alteration, Fairchild Books, New York.

Whife A. A. 1965, Designing and cutting Ladies Garments, The Tailor and Cutter, London.

60
 BIOMIMIC‘Y AND FASHION P‘ACTICE

Do a Sgro
School of Design, University of Technology, Sydney

Contents
Abstract.................................................................................................................................... 62
Fast Fashion ............................................................................................................................. 62
Slow Fashion ............................................................................................................................ 63
The Three Aspects .................................................................................................................... 64
Practice .................................................................................................................................... 65
Sustainability ............................................................................................................................ 66
References ............................................................................................................................... 68

61
A stra t
The local practice of fashion is being critically challenged by an increasingly networked global
fashion system, which produces endless variations of the same. Counter this global trend is an
emerging range of fashion practices, which focus on differentiation, challenging modes of
assimilation. Particularly these practices question the notion of time, where slow models are
mapped out, and design processes become transparent, engaging their intended wearers with
unique stories of design exploration. My research endeavours to advance how an understanding
of biomimicry might enable new modes of fashion practice, and engage ecological thinking to
produce endlessly differentiating forms. Invariably this research asks how an interdisciplinary
understanding of fashion practice may underpin innovation in the field.

Fast Fashio
Fast fashion business models have experienced unprecedented growth in recent years, and have
contributed to changes in consumer expectations and behaviours. For example, Zara, a well
known fast fashion leader, keeps in-store quantities optimally reduced, to encourage shoppers
to buy something else – ei g out of sto k i o e ite helps sell a othe , si e people a e ofte
happ to s at h hat the a (Ferdows, Lewis et al. 2004). In the shadow of this rising success,
there are an increasing number of voices within the fashion industry joining in discussions about
fundamental systematic changes needed to occur if the industry is to become more responsible,
socially and environmentally, and more locally viable. It is not insignificant that the introduction
of the te slo fashio has appea ed du i g a pe iod he e fashio les a e e pe ie i g
acceleration.
Fast fashion has been written about particularly from the perspective of the UK market, where a
u e of epo ts ha e ee o du ted, a d a a a e ess e ists that fast fashio has e o e
a defi i g ha a te isti of toda s te tile a d lothi g i dust (Fletcher 2008). Fast fashion
producers have developed systems where the number of clothes being created is ever
increasing, and new clothing drops occur very frequently, in some businesses, on a weekly or
daily basis. The clothing is mass-p odu ed a d sta da dized, it is heap, eas a d apid to
produce; it draws on low-cost materials and labour, short lead times, and efficient large volume
p odu tio (Fletcher 2010). Increased efficiencies in global communications and marketing,
combined with ever increasing competition and consumer demand, have enabled the success of
fast fashion models, particularly in the last 15-20 years. The reduction in tariffs, growth in
offshore manufacturing and development of vertically integrated supply-chains has additionally
contributed to this development.

62
Combined with changes enabled by online technology, consumption habits have accelerated to a
point where consumers demand instantaneousness, clothing becomes highly disposable and
replaceable. The fast fashion system creates an over-supply of garments that are ever cheaper
a d faste , i a a that is e og ized “a d Bla k as i he e tl u sustai a le (Black 2008).
E edded i the fast fashio usi ess odel is the st ateg of just-in-ti e a ufa tu i g,
which means increasing the efficiency and speed of the management of the supply chain to
respond in real time to consumer preferences (Hearson 2006). Clothes no longer occupy a
meaningful pla e i a pe so s life, ut e o e s ols of o su pti e eha iou , ofte
discarded long before the product is degraded (Allwood, Laursen et al. 2006), and inevitably
create a lasting impact in landfill waste (Black 2008).

Slo Fashio
Counter this global economy is an emerging range of fashion practices, which are differentiated
from this model in various ways. Particularly, these practices question the notion of time, where
slow models are mapped out, and design processes re-imagined, engaging their intended
wearers with a unique story. Encouragingly for designers in this segment of the market, there is
evidence that consumers are becoming more interested in alternate design and consumption
practices. Particularly since the Global Financial Crisis and associated recessions, consumers are
being more careful with their spending and what types of products they buy (Wood 2008; Fox
and Chilvers 2010; Lorenz and Wright 2010). Dilys Williams, the Director of the Centre for
“ustai a le Fashio lai s e e seei g a eal fatigue a o g o su e s a ou d the idea of
ha i g o ea d o e stuff. The e s a d i e to e ti e us to u , ut people a e o ed ith [thei
purchases] almost efo e the get the ho e. [We e ea hed] a poi t he e the le has
e o e o oto ous (Lorenz and Wright 2010).
While there is some discussion that fast fashion may be experiencing a decline in interest in the
UK, this may not be the case in Australia, which is only recently experiencing the introduction of
global fast fashion retailers into the market. These entries have included Incu presents Topshop
in 2009, Gap in 2010, and Zara in 2011. There are plans for further entry with Topshop, Zara,
Gap, U i lo, Ba a a ‘epu li , Fo e e , Vi to ia s “e et a d A e o ie & Fit h all
expressing interest in gaining or increasing share in the Australian market (Silva-Jelly 2009; Baker
2010; Stafford 2010; Wells 2010; Cummins 2011; Lee 2011; Tartaglia 2011; Vlach 2011). What
this may mean for local fashion business practice, is a topic of general interest, and the effects
remain to be seen.
I Kate Flet he s ie , slo fashion is not just about slowing the pace of fashion, but is about
defining a lifestyle and a different type of worldview. She writes:

63
 Slow fashion is about designing, producing, consuming and living better. It is about
combining ideas about a sense of nature's time (of regenerating cycles and evolution),
culture's time (of the value of traditions and wisdom), as well as the more common
timeframes of fashion and commerce. Its emphasis is on quality (of environment,
society, working conditions, business, product, etc.) (Fletcher 2008).

With the emphasis on quality, the ethos of slow fashion is distinctly different to fast fashion,
which is based on quantity, price and speed to market. The slow fashion approach is a challenge
to the coupling of fashion and consumerism; it is a challenge to the universal acceptance of
continual economic growth (Fletcher 2010). It also recognizes that people who wear clothes can
be active participators in their clothing choices, rather than passive consumers of formulaic
product.
Within the context of a slow fashion approach, my research endeavours to advance how an
understanding of biomimicry might enable new modes of fashion practice. In literature that
addresses the complex issues of sustainable fashion, discussion of biomimicry, and more
generally, discussion of natural systems and processes, is often included. Biomimicry has been
written about by fashion and textile researchers including Kate Fletcher (Fletcher 2008; Fletcher
and Grose 2012; Fletcher and Grose 2012), Janet Hethorn (Hethorn 2008), Ma ie O Maho
(O'Mahony 2011) and Bradley Quinn (Quinn 2010; Quinn 2012). These authors identify the
potential for biomimicry to enable innovation within the area of fashion and textiles design.

The Three Aspe ts

Ja i e Be us is o o l a k o ledged fo esta lishi g the field of io i i , (Ternaux
2012) which she defines from the Greek bios, meaning life, and mimesis, meaning imitation. In
her seminal text, Biomimicry: Innovation Inspired by Nature (1997), Benyus defines the
relationship of nature to biomimicry in terms of three aspects:
1. Nature as model
2. Nature as measure
3. Nature as mentor (Benyus 1997).

I this defi itio , atu e as odel ea s usi g studies of atu e s desig s a d p o esses a d
then imitating them to solve human problems. Nature as measure recognizes that there are 3.8
billion years of evolution which demonstrates what works and is appropriate. Nature as mentor
is based on a re-evaluation in thinking about nature in terms of not what we can extract from it
but what we can learn from it (Benyus 1997).
The p a ti e of io i i did ot o e i to e iste e follo i g Be us s defi itio ; the ea lie
te io i eti s as used Otto H “ h itt i (Bar-Cohen 2006) to describe the

64
crossings between biology and engineering. It is common for architects, designers and artisans to
take inspiration from nature (Gruber 2008) so while the science of biomimicry may be new, the
principles behind it are not (Quinn 2010). The scientific field of study, called biomimicry, and its
design applications, has developed since 1997 largely due to the efforts of Benyus, the influence
of her text, and others working alongside her to establish the Biomimicry Institute. This emerging
dis ipli e is also des i ed Be us as a o e e t, a solutio -seeking methodology, a
philosophy, and an approa h to desig (Ternaux 2012).
My PhD research is engaged with trying to understand how a biomimetic approach may be
applied to fashion design, specifically within a practice-led methodology. As my research is
progressing, it is becoming clear that part of understanding how a biomimetic approach may be
meaningful in terms of fashion design involves establishing how fashion design relates to wider
conceptions of design in general, and by extension, how design, inclusive of fashion, relates to
other disciplines, specifically to those of the sciences and art practices. It means expanding how
fashion practice can be thought when the fashion cycle is redefined in terms of its relation to
natural processes and systems rather than the traditional, economic ones.
After surveying the ways biomimicry is applied within fashion and textiles design, it is evident
there are well-known precedents in the area of textiles, however, fashion design applications are
relatively few and their potential underexplored. Arguably, the most well known and widely used
example of a biomimetic textile is Velcro, developed in 1948 by Swiss inventor George de
Mestral. A more recent example of a biomimetic textile is Fastskin FSII, which was developed by
Speedo in 2004 by replicating selected properties of shark skin, to reduce drag. Contemporary
applications of biomimicry in textiles have included studies of various biological structures to
develop innovations in fabric technology and performance. Such examples include the study of
abalone shells to develop shatter proofing; shark and dolphin skins to develop high performance,
low friction waterproofing; the Stenocara beetle to discover methods to extract water out of the
air; and the development of self-cleaning surfaces based on the lotus flower (Quinn 2010).

Pra ti e
As a fashion designer, in my commercial practice, I have been able to work with a biomimetic
textile called Morphotex. What I have since realized about this experience is actually how unique
this opportunity has been, given how prohibitive it can be for independent fashion designers to
gain access to technologically advanced fibres. This experience has had a profound effect on how
I think about fashion design, and its ability to influence and inspire innovation in a cross-
disciplinary way. The experience of using Morphotex, has encouraged me to conduct research in
the areas of overlap between biomimicry and fashion design. I gained access to Morphotex in
, du i g i ol e e t ith a i te atio al o petitio , the “HINMAI C eato s P oje t,

65
sponsored by the Japan Fashion Week Organisation. Part of the competition prize included
sponsorship to travel to Japan Creation and source fabrics to use in the collection I would show
in Tokyo for the Autumn/Winter 2010 fashion week.
Morphotex was developed by Teijin Fiber, and is a world first in structurally-coloured fibre
technology. Unlike traditional industrial techniques, in which dyes are used to colour fabrics,
Morphotex appears coloured but does not use any dyes or pigmentation. The particular
qualities of the Morphotex fibre were developed using nanotechnology, and are the result of
scientific research on iridescence in the wings of the Blue Morpho butterfly. The physical
st u tu e of the Blue Mo pho utte fl s i g auses the i g to appea olou ed. ‘athe tha
ei g a he i al olou like a pig e t, this ph si al, o st u tu al olou , esults f o a a s of
vertically aligned net-like skeleto st u tu es (Huang, Wang et al. 2006). Morphotex is the result
of technologically advanced manufacturing processes where a nano size multilayer stack
involving 61 layers of polyester and nylon creates colour illumination by light interference (Teijin
Fibers Limited). By using an innovation such as structural colour, the entire dyeing process is
avoided. This is environmentally significant because dye effluent is often a source of major
metal pollutants, such as lead and mercury (Jing 2012), and the process is intensive in terms of
resources including water, energy and chemicals (Fletcher 2008).

Sustai a ilit
Biomimetic concepts have influenced the development of thinking about sustainable design in a
number of ways. The cradle-to-cradle model, developed by McDonough and Braungart, is
developed with a biological model as its foundation, which asks what would design look like if it
were underpinned by a natural model rather than an economic model (McDonough and
Braungart 2002). This text has had a profound influence on thinking about sustainable design.
Key sustainable fashion writers credit this model, and develop thinking around this in the context
of fashion design. Janet Hethorn makes the observation that while engineers and architects are
looking to biomimicry to inform new approaches to building, and product designers have
si ila l applied io i eti p i iples to p odu ts, the e a e a easo s h fashio ould
e efit f o this ki d of i estigatio a d desig appli atio (Hethorn 2008).
Kate Fletcher discusses biomimicry explicitly, in her influential text, Sustainable Fashion &
Textiles: Design Journeys (2008), and also in her recent joint publication with Lynda Grose,
Fashion & Sustainability: Design for Change (2012). The broader themes of biomimicry are
touched upon in various ways throughout both texts. The potential for biomimicry to influence
the re-de elop e t of desig e s p a ti e is e ealed as Flet he a d G ose state:
Be us s asi guideli es a p o ide desig e s ith a tool to assess a d e aluate thei
own ideas and actions, and maintain focus on ecological gains – to inspire not just the

66
 quality of things ut athe to i fo the fit ess of those ideas fo the context in which
they are placed and to direct the nature of whole systems (Fletcher and Grose 2012).
Following the thinking of Janine Benyus, McDonough and Braungart, is the point that biomimicry
can be an innovative application if it is implemented with consideration for the three aspects of
its definition, nature as model, measure and mentor. If only considered in one dimension, nature
as model, it may become simply a novelty, isolated from its context.
What is fascinating for me in the context of my practice, is the interest that my work with
Morphotex has gained from the scientific and design communities around the world. This dress
has been exhibited as part of the Trash Fashion exhibition at the Science Museum London (June
2010 – September 2011), FashioningTech, part of StyleX at SXSW in Austin (March 2011) and
ost e e tl i luded i a p i ate e hi itio fo ‘e ault i thei I o atio ‘oo at the
Technocentre in Paris. The fact that a dress has been used to inspire 12000 car engineers to me
is an amazing recognition of the power of fashion design, when combined with scientific or
technological advances, to inspire change and innovation. The dress has since become part of
permanent collections of the Science Museum London and Biomimicry Europa, and has featured
in trend forecasting reports worldwide.
My research explores the forms of practice that may evolve from intersections between the
biological and fashion design practice. Part of this research involves questioning whether
established biomimetic methodologies as they are defined in relation to practices such as
materials science, engineering, industrial design and architecture are relevant or appropriate for
fashion design applications and outcomes. A specific approach which includes fashion design
practice seems largely absent, or underexplored. This absence is reiterated within literature
which defines design activity; fashion design seems always somehow periphery to these
definitions. Why this might be the case is interesting to consider. So I am wondering what a
biomimetic fashion design practice may look like, if established types of approaches are relevant
to fashion design, or if fashion design may need a different kind of approach.
There are some contemporary examples of biomimicry in fashion design, however, this area has
much potential for development, and the examples vary in terms of how closely aligned they are
ith Be us s defi itio . Bio i eti app oa hes a e fou d i the o k of Ada )a diton,
Karen Ingham, Katie Ledger, Suzanne Lee and Diana Eng. Ada Zanditon is an emerging fashion
designer based in London, who refers to biomimicry for inspiration. Her Spring/Summer 2010
collection, Colony, uses hexagonal shapes developed from honeycomb structures, while
sustainable practices guide her business model (Zanditon 2012). Karen Ingham is an artist
recently involved with The Pollinator Frocks Project (Ingham 2011). For this project, she
developed a collection of surface pattern designs for clothing, working with an interdisciplinary
range of collaborators. A prototype range of garments were specially treated with pollinator
food sources to resemble nectar, and the dresses were hung out on a clothesline to feed insect

67
pollinators such as bees, butterflies and moths. London College of Fashion MA student Katie
Ledger developed a concept called Shed Me Clothes (Ledger 2011), which is modeled on the
study of ecdysis, or shedding of skin, in snakes. The concept for shedding layers was developed
for clothing and aims to reduce or even eliminate the need for laundering, using multiple layers
and dissolvable stitching, with each layer being compostable. Suzanne Lee, a senior research
fellow at Central Saint Martins School of Fashion & Textiles, directs the Biocouture initiative,
which involves growing fabrics into garments from vats including green tea, sugar, bacteria and
yeast forming a papyrus type structure (Chua 2012). Diana Eng has developed deployable
structures for her Miura Ori scarf which is based on leaf folding mechanisms (Eng 2012).
Integral to my understanding and practice of fashion is the relationship of fashion to aesthetics
and desire. This understanding of fashion practice is focused on exploring emotional responses
and experimental processes. Considering the appeal of fast fashion in the market means
considering forces at play that are instrumental in defining what fashion means and how it is
responded to in a day-to-day way. A key consideration for the relevance of biomimicry to fashion
design practice would be the question of how it becomes meaningful for consumers. Perhaps
this is the problem a solution-focused biomimetic methodology must seek to solve, for fashion
design and biomimicry to be relevant to the context of sustainable fashion. It would certainly be
a challenge. So I would like to conclude by asking, what would fashion design practice bring to an
understanding of biomimicry, and how might his process transform fashion design practice or
conversely, how might fashion design practice transform or enrich biomimetic methodologies?

‘efere es
Allwood, J., S. E. Laursen, et al. (2006). Well dressed? The present and future sustainability of
clothing and textiles in the United Kingdom. Cambridge, University of Cambridge.

Baker, M. (2010). A Gap in Australian retail. The Age. Melbourne, Fairfax Media, viewed 25 April
2011, http://www.theage.com.au/small-business/a-gap-in-australian-retail-20100331-
rdj2.html.

Bar-Cohen, Y. (2006). "Biomimetics--using nature to inspire human innovation." Bioinspiration &

Biomimetics 1(1): 1-12.

Benyus, J. M. (1997). Biomimicry: innovation inspired by nature. New York, Harper Perennial.

Black, S. (2008). Eco-chic: the fashion paradox. London, Black Dog Publishing.

Chua, J. M. (2012). 10 Eco-Fashion Garments Inspired by Nature and Biomimicry. Ecouterre. New
York, Inhabitat, LLC, viewed 12 June 2012, http://www.ecouture.com/10-eco-fashion-
garments-inspired-by-nature-and-biomimicry/

Cummins, C. (2011). Major brands to set-up shop in Sydney. The Sydney Morning Herald. Sydney,
Fairfax Media, viewed 25 April 2011, http://www.smh.com.au/business/major-brands-
to-set-up-shop-in-sydney-20110414-1df7b.html.

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Eng, D. (2012). "Diana Eng website." Retrieved 1 July 2012, from
http://www.dianaeng.com/smart-scarves/.

Ferdows, K., M. Lewis, et al. (2004). "Zara's Secret for Fast Fashion." Harvard Business Review
82(11).

Fletcher, K. (2008). Sustainable Fashion and Textiles: Design Journeys. London, Earthscan.

Fletcher, K. (2010). "Slow Fashion: An invitation for systems change." Fashion Practice 2(2): 259-
266.

Fletcher, K. and L. Grose (2012). Fashion & Sustainability: Design for Change. London, Laurence
King Publishing Ltd.

Fletcher, K. and L. Grose (2012). How Can Designers Apply Biomimicry Principles to Fashion?
Ecouterre. New York, Inhabitat, LLC, viewed 17 June 2012,
http://www.ecouterre.com/how-can-designers-apply-biomimicry-principles-to-fashion.

Fox, I. and S. Chilvers (2010). Slow fashion: forever yours. The Guardian. London, The Guardian,
viewed 24 April 2011, http://www.guardian.co.uk/lifeandstyle/2010/jul/07/slow-
fashion-high-street.

Gruber, P. (2008). "The signs of life in architecture." Bioinspiration & Biomimetics 3(2).

Hearson, M. (2006). Who Pays for Cheap Clothes? 5 questions the low-cost retailers must
answer. Labour Behind the Label. Norwich, Clean Clothes Campaign.

Hethorn, J. (2008). Consideration of Consumer Desire. Sustainable Fashion: Why Now? A

conversation exploring issues, practices, and possibilities. J. Hethorn and C. Ulasewicz.
New York, Fairchild Books.

Huang, J., X. Wang, et al. (2006). "Controlled Replication of Butterfly Wings for Achieving Tunable
Photonic Properties." Nano Letters 6(10): 2325-2331.

Ingham, K. (2011). "Karen Ingham Website." Retrieved 28 April 2011, 2011, from
http://www.kareningham.org.uk/pollinatorfrocks.html.

Jing, L. (2012). Fashion houses 'need to clean up their act'. China Daily. Beijing, China Daily,
viewed 3 July 2012, http://www.chinadaily.com.cn/cndy/2012-04-
18/content_15074002.htm.

Ledger, K. (2011). "Shed me Clothes - Pecha Kucha Presentation." Retrieved 1 May 2011, 2011,
from http://www.youtube.com/user/beherenowrobin.

Lee, J. (2011). Buckle up, fast fashion is here. Sydney Morning Herald. Sydney, Fairfax Media,
viewed 22 April 2011, http://www.smh.com.au/business/buckle-up-fast-fashion-is-here-
20110415-1dhj3.html.

Lorenz, T. and M. Wright (2010) "Slow fashion changes gear," Forum for the Future, viewed 23
April 2011,
http://www.forumforthefuture.org/greenfutures/articles/slow_fashion_changes_gear.

McDonough, W. and M. Braungart (2002). Cradle to cradle: changing the way we make things.
New York, North Point Press.

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O'Mahony, M. (2011). Advanced Textiles for Health and Well-Being. New York, Thames &
Hudson.

Quinn, B. (2010). Textile Futures: Fashion, Design and Technology. Oxford, Berg.

Quinn, B. (2012). Fashion Futures. London, Merrell Publishers Limited.

Silva-Jelly, N. (2009). It's a short way to the Topshop. The Sydney Morning Herald. Sydney, Fairfax
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 A FITTING FOUNDATION FO‘ A FUTU‘E FASHION
INDUST‘Y
THE BUSINESS OF FASHION IN FASHION
EDUCATION

Rachel Matthews
Melbourne School of Fashion

Contents

Introduction .................................................................................................................................. 72
Fashion + Business......................................................................................................................... 72
Background ................................................................................................................................... 73
Consumer power ........................................................................................................................... 73
Blurring of previous divisions within the fashion industry .............................................................. 74
Changing notions of time and space .............................................................................................. 75
The Bachelor of Fashion and Business – course structure .............................................................. 76
Design stream ............................................................................................................................... 76
Garment Creation.......................................................................................................................... 76
The Fashion Market Place.............................................................................................................. 76
Business Practice ........................................................................................................................... 77
Final year of study ......................................................................................................................... 77
Conclusion ..................................................................................................................................... 77
Bibliography .................................................................................................................................. 77

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Introduction

Fashion welcomes change; in fact it relies on change for its very existence. Currently the
fashion industry is undergoing far reaching structural changes and these changes will have a
significant impact on the working lives of future fashion graduates.

Fashion is a vibrant and innovative economic and socio-cultural activity, contributing value
at individual, community, corporate and national levels, however the forces which bring
about change in the fashion industry have diversified. These forces produce taste-makers of
fashion from a multitude of backgrounds and industry drivers are a complex combination of
the cultural and commercial. The time and space within which fashion is produced and
consumed has transformed and formerly defined boundaries in the industry have dissolved.

Educating a new generation of graduates who aspire to contribute to this fashion industry
therefore demands an additional dimension. This new blood should be equipped with the
ability to look at the fashion industry from new perspectives. Traditional design centred
approaches to the study of this field need to be balanced with a more integrated
understanding of the fashion industry. This paper discusses some of the research and
motivations behind a new course that attempts to provide an alternative approach to the
study of fashion in Australia for 21 st century.

Melbourne School of Fashion and Holmes Institute combined forces in late 2010 to develop
a Bachelor of Fashion and Business. This course has now been accredited and commenced in
March 2012. It is a higher education course that brings together the study of fashion and
business to educate students about the industry from a new perspective.

The Fashion and Business course takes an integrated approach to the field of fashion,
considering issues of sourcing, design, production, presentation, promotion and
consumption on an equitable basis. The course structure allows students to apply creative
ideas and critical thinking to each of these industry areas, thus acquiring an understanding
of fashion's reach and complexity. This fresh perspective on fashion education is designed to
provide students with the opportunity to view fashion from a range of differing viewpoints
throughout the course.

Fashion + Business

Fashio is p odu ed th ough the i te a tio s of o e e, ultu e a d o su e s

(Blaszczyk, 2008:1)

While fashion as a cultural phenomenon highlights the 'lone superstar' designer, fashion as
business clearly has many other crucial players and institutions that bring fashion concepts
to the consumer through their interactions, specialised patterns of communications and
negotiations. The range of business enterprises that underpin the fashion industry is broad -
from fabric mills and garment factories, retail outlets and selling, advertisers and marketers;
all aki g up fashio s glo al s ste s of p odu tio , p o otio a d t ade. F o this
perspective it is clear that fashion involves not only creativity and self-expression but also
business, commerce and innovation. These elements have sustained and shaped the fashion
system for over 150 years. The new Bachelor of Fashion and Business course endeavours to

72
embed knowledge of business and trade within the fashion industry and in the study of
fashion.

An examination of the very beginnings of the modern fashion industry and the career of its
'god-father' Charles Fredrick Worth provides evidence of inter-dependant relationship of
fashion and business. Worth's vision was not only for the shape of female dress of the day,
but also of opportunities for a new consumer experience, creating a comprehensive
approach to fashion production and consumption (Hollander, 1982). Worth had the ability to
foresee movements in society's taste as well as movements of a commercial nature,
understanding their combined cause and effect.

And indeed further examination of more contemporary fashion houses reveals that despite
being known by the name of the creative force behind them, they have achieved success
through a partnership of creative and business minds - Yves Saint-Laurent with Pierre Berge,
Miuccia Prada with Patrizio Bertelli, Calvin Klein previously had Barry Schwartz and Ralph
Lauren with Peter Strom, Karl Lagerfeld has Alain Wertheimer at Chanel.

It's the apa it to ake opposi g fo es o k a it like fi e a d ate , It's ot e ough to

have a talented designer; the management must be inspired too. The creative process is
e diso ga ised; the p odu tio p o ess has to e e atio al. Be a d A ault uoted
in Andrews, 2004)

However these types of casual observations on the relationship of fashion and business
cannot form the basis for new educational programs. In order to construct academic
underpinnings for a new fashion and business course a compelling argument was needed.

Background

The background research for this educational proposal in fashion and business considered
current trends in productivity and economic development both here in Australia and
globally; it included fashion industry reviews and commissioned studies of Australia's future
workforce needs. The research process involved round table discussions and interviews with
fashion industry professionals (and employers) who highlighted changes and power shifts in
the fashion industry. From this research, themes emerged as key challenges for the future
workforce of the fashion industry. These concerned changes in consumer power,
restructuring of divisions within the fashion industry and notions of time and space.

Consumer power

The fashion industry is undoubtedly part of the interconnected and networked world in the
21st century. Developments in technology and communication have already brought about
significant changes in design, manufacturing and retail. This has provided infinite choice to
both consumer and manufacturer, whilst allowing cross-fertilisation of cultural and fashion
preferences from around the planet. The growing popularity of consumer orientated
offerings such as mass customisation and pro-sumer lead (Toffler, 1970) design activities
identify a new hunger to collaborate with the empowered consumer. The availability of
choice and the adoption of on-line / m-commerce by fashion consumers have given them
unprecedented power. This apparent role reversal has required industry professionals to

73
now look to their customer as a source of information in contrast to previously relying on
those within the industry.

'In light of changing consumer trends and competition from Asia, there are a range
of specialised skills needed in the Australian fashion industry in order to survive and
prosper in new global markets – understanding of business management models for
design, manufacturing and distribution and supply chain for local and international
settings.' (Australian Fashion Directions – ISSI 2009)
Making a successful contribution to the fashion industry in the 21 st century requires an
understanding of how the power shift to the consumer has impacted upon design,
production, distribution and retail. There lies within this a world of technology, terminology
and logistics that successfully connect the globally networked systems of creation, supply,
production, distribution and consumption.
Graduates must be digitally adept, possess specialised communication skills and be able to
network and collaborate within culturally diverse environments. Fashion consumers can be
fickle, so knowledge of business techniques and survival strategies that enable agile and
innovative responses to these challenges are vital.

Blurring of previous divisions within the fashion industry

There is evidence that many defined or established areas of the fashion industry have
started to dissolve as entry barriers are lowered and ideas on 'expert opinions' are
challenged by the accessibility and scope of the internet. Traditionally powerful gatekeepers
of fashion's new looks, the fashion editors and fashion buyers, have been by-passed by
consumers ordering their own hero pieces from catwalk collections and opinionated
bloggers posting comments from the edge of the runway.

Historical models of the division of duties in fashion are also being re-structured in light of
technological developments, economic pressures and in an attempt to maintain critical
capacity and skills base across the supply chain. Vertical business models are now more
prevalent in the fashion industry. Within this structure, previously defined industry roles
have become blurred. For example, the role of the designer has become significantly more
multi-faceted – the role may well including aspects of sourcing, buying, negotiating,
production and supply chain management and quality assurance alongside the traditional
creative aspects of a designer's job. Successful fashion also relies on the right retail
environment to communicate and connect with the customer combined with well pitched
and well timed merchandising and marketing through the right channels. A clear vision and
integrated approach needs to be applied at a range of levels to manage a totally coherent
message.
I additio to desig a d a ufa tu i g skills, instruction in business skills such
as marketing, basic accounting and dealing with suppliers and customers, is
essential. It was often reported to the Review that a person maybe a brilliant
designer but lacks the necessary skills to manage a business. These skills are
especially critical for the self-employed or micro firms that do not have internal
spe ialised a age e t skills that la ge fi s e jo . Buildi g I o ati e
Capabilities: Review of the Australian Textile Clothing and Footwear Industries,
2008)

74
Working successfully within this inter-connected process suggests a more interdisciplinary
workforce, who readily collaborates and sees team work as essential. This is not to suggest
the fashion industry is in need of more 'fashion generalists', rather specialists who have skills
in and awareness of the range of environments within which fashion needs to communicate.

Changing notions of time and space

Again, the transformatory powers of technology and communication have changed the
shape of the fashion industry; previous ideas of time and space within fashion have been
broken down. For example - the relevance of the traditional fashion calendar which uses the
Spring / Summer and Autumn / Winter seasons to trigger change has been surpassed by
consumer demand. Daily deliveries are required to keep customers' attention and fashion
companies have responded accordingly. Whilst the delay between catwalk presentations of
new styles and customers being able to possess the new looks has been removed by live-
streaming and the 'fully shoppable' runway technologies. It has been previously noted that
the speed at which something occurs has the ability to change its essential nature (Virilio,
1977). It seems that every aspect of bringing fashion products to the consumer has become
more rapid as a commercial necessity and through the instant access to information and
technological developments the digital world has provided.

An established notion of the spaces where fashion is seen, discussed and purchased has also
diversified. The promotion of new ideas still utilises the catwalk arena, but this forum is now
available to a worldwide audience. This, combined with the prevalence of the fashion film as
a vehicle to promote new ideas would also suggest a general acceptance of the screen as a
fashion space. Fashion writing has also evolved through technology. The glossy fashion
magazine now has many on-line sisters, along with a world wide fashion community
discussing and debating fashion through posts on websites, blogs, Twitter, Instagram, etc.
And of course the space for fashion retail has also moved on, with consumers happy to
purchase in a shop on the high street or from the screen of a mobile device.

Marion Hume's report on the Australian fashion industry (The Hume Report: The fashion
industry stripped bare) published earlier this year highlights these factors as particularly
relevant to the production and consumption of fashion in Australia. She is also reported
commenting on future work force needs for the fashion industry in Australia. 'Ms Hume
dis ussed the i po ta e of fashio houses o i i g fashio sa a d usi ess s a ts
for enduring success.' Lisa Carapiet ('Fashion in need of a new model', Australian Financial
Review, 1/2/12).

Her feelings were echoed at L'Oreal Melbourne Fashion Festival earlier this year - 'Lbi's
Clarke believes new talent that is equally creative and mathematically minded will be
required for Australian fashion businesses.' Laura Yarns ('LMFF 2012: Australian fashion
industry focus' WGSN, 4 /4 / 12)

An ability to successfully create and manage fashion production and consumption in these
new time frames and varied formats requires a broad suite of complimentary skills.

Australia's creative specialists must be equipped with a clear appreciation of the range of
fields in which their skills and knowledge can be used and applied. For example, in The Cox
Review of Creativity in Business (2005), Sir George Cox is emphatic that:

75
 'We need business people who understand creativity, who know when and how to
use the specialist, and who can manage innovation; creative specialists who
understand the environment in which their talents will be used and who can talk the
same language as their clients and business colleagues; and engineers and technologists
who understand the design process and can talk the language of the business.'

The Bachelor of Fashion and Business – course structure

The ou se has ee st u tu ed o e th ee ea s ith the fi st t o ea s di ided i fou

disti t pilla s o st ea s of stud . The fou su je t st ea s i the fi st a d se o d ea a e
o e su je ts that o e the ke o epts, theo ies a d o ki g p a ti es ithi the fashio
i dust . Ea h of these fou su je t st ea s p i ileges o e pa ti ula pe spe ti e o fashio
– Desig , Ma ufa tu i g a d P odu tio , ‘etail a d Co su ptio a d Busi ess a d Fi a e.
The fi al ea of stud is fo used o a ajo p oje t. The atu e of this p oje t pla es
e phasis o the i di idual a ee aspi atio s a d pe so al st e gths of ea h of the stude ts
i the o te t of the fashio i dust , hilst o solidati g the u de sta di g the ha e
gai ed i the fi st t o ea s of the ou se.

Design stream
This st ea u de pi s eati e de elop e t. The desig su je ts a e i itiall o e ed ith
the fou datio s of desig i the oadest se se, e su i g that stude ts gai a isual a d
o eptual t ai i g hilst lea i g a out the theo eti al a d ultu al o te t of fashio .
“tude ts de elop thei o eati e oi e a d e plo e ethods of isual o u i atio i
o de to e p ess thei pe so al take o desig o epts elated to fashio desig a d
fu the ed a u de sta di g of he e these desig o epts o e lap a d i pa t upo the
a keti g, a di g a d p o otio of fashio .

Garment Creation
This area of study deals with the craft of garment creation (pattern cutting and garment
construction), introducing students to methods of mass-production as well as techniques for
bespoke making and providing an understanding of value and quality in both construction
and finished product. Once an understanding of the processes and skills in this area has
been mastered the students then use these applications in a professional and creative
manner to realise their ideas.

The Fashion Market Place

This stream focuses on fashion production and fashion consumption, developing student
understanding of the interconnected systems and processes involved in delivering fashion
artefacts to the consumer. These subjects form the foundational knowledge to examine the
market categories and their consumers within the fashion industry and the decision making
processes involved in the presentation of fashion artefacts to the fashion audience through
marketing, merchandising and buyer selection. As this stream progresses it analyses other
key industry areas that bring together understanding of fashion product life cycle – supply
chain, product and retail management.

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Business Practice
“u je ts i the usi ess st ea p o ide stude ts ith k o ledge a d skills of ke usi ess
p i iples a d p a ti es u ial to the fashio i dust i the st e tu . This is the st ea
that p o ides fu tio al k o ledge i usi ess o u i atio s a d a ou ti g, ook
keepi g a d fi a ial a age e t. The s ope of the st ea de elops ith a fo us o
e t ep e eu ial, i o ati e a d e i o e tal odels ithi the apidl ha gi g fashio
i dust . B stud i g ke usi ess p i iples a d p a ti es i the fashio o te t, stude ts
de elop a u de sta di g of he e the a d thei ideas ould sit i the oade o te t,
hilst de elopi g app op iate o u i atio , i te pe so al a d usi ess skills a d
k o ledge that ill e a le the to pa ti ipate effe ti el i the i dust

Throughout the study of these four streams the integration and connection between these
views of fashion are stressed to ensure a sound understanding of how the industry works
operationally is gained, not just creatively and technically.

Final year of study

“tude ts eate a od of o k ased i a eas of the fashio i dust that ha e ee
e plo ed a d e a i ed th oughout the ou se a d that elate to thei spe ified a ee
out o es. This p oje t ot o l i ol es the eati e de elop e t of a fashio elated
out o e, ut also e ui es esea h a d do u e tatio of the sou i g, p odu tio a d
fi a ial u de pi i gs of i gi g thei o ept to the usto e . “t u tu ed i to the fi al
ea of stud a e othe su je ts that e ge de a glo al pe spe ti e, olla o atio a d the
fo atio of ' o u ities of p a ti e' We ge , a o gst the oho t. These foste
a ilities to esea h a d a ti ipate a d espo d to ha ges a d futu e de elop e ts eeded
to th i e i the i dust .

Conclusion
The Bachelor of Fashion and Business contributes an additional educational pathway to
prepare those who aspire to be part of the fashion industry. The graduates of this course will
assist in the creation of a foundation needed within the Australian fashion industry to
ensure a wide range of fashion enterprises can establish themselves on a secure footing. The
course aims to create fashion personnel that are able to drive and support businesses as the
fashion industry continues to transform itself.

The approach taken here is only one view of how fashion education can adapt to keep pace
with an industry in transition. Educating Australian fashion designers for the future relies on
fashion education keeping pace with changes in the fashion industry – including its new
notions of time and space.

Bibliography

Andrews, J. 2004, Rags and Riches: A Survey of Fashion, The Economist (March 6 2004) pp6-
8

Blaszczyk, R. 2008, Producing Fashion: Commerce, Culture and Commerce, University of

Pennsylvania Press Philadelphia

Carapiet, L. 2012, Fashion in Need of a New Model, The Australian Financial Review
(February 1 2012) pp3

77
Cox, G. 2008, Key note address. The Body: Connections with Fashion Conference.
Melbourne, Australia

Gow, K. & McDonald, P. 2009, Attributes Required of Graduates for the Future Workplace.
Journal of Vocational Education and Training Vol 52 Number 3

Hollander, A. 1982, When Worth was King, Connoisseur (December) pp114-21

Hume, M. 2012, The Hume Report: The Fashion Industry Stripped Bare, The Australian
Financial Review (March 30 2012)

Innovation and Business Skills Australia Environment Scan 2010 – Looking to the Future
(Industry Intelligence on Workforce Development)

International Specialised Skills Institute Inc, 2009. Australian Fashion Direction – Getting it
Right

Manufacturing Skills Australia Environmental Scan, 2010. Report prepared for Department
of Education Employment and Workplace Relations

Review of the Australian Textile, Clothing and Footwear Industries. 2008. Building Innovative
Capability: Review of the Australian Textile, Clothing and Footwear Industries.

Toffler, A. 1970, Future Shock, Random House, London

Virilio, P. (1977) 2006, Speed and Politics, Semiotext(e),Los Angeles

Wenger, E. 1999, Communities of Practice: Learning, Meaning and Identity, Cambridge

University Press, Cambridge

Yarns, L. 2012, LMFF 2012: Australian Fashion Industry Focus, WGSN

http://www.wgsn.com/content/report/Business_Strategy/Thought_Leadership/Conference
2012

78
 EDUCATING FASHION DESIGNE‘S FO‘ THE
C‘EATIVE ECONOMY OF S‘I LANKA

Ms Ruwandika Senanayake
School of Fashion & Textiles, RMIT University, Melbourne

Contents
INTRODUCTION ........................................................................................................................ 79
THE CONTEXT: THE FASHION INDUSTRY OF SRI LANKA ............................................................. 80
DESIGN EDUCATION IN SRI LANKA ............................................................................................ 81
THE CURRICULUM APPROACH OF THE BACHELOR OF DESIGN (BDES) PROGRAM ..................... 83
Multidisciplinary Design Environment ...................................................................................... 83
Collaborative Work with Local Communities ............................................................................ 84
Hands-on Practice with Techniques .......................................................................................... 84
Design Projects of Familiar Context .......................................................................................... 84
Industry Experience .................................................................................................................. 85
Written Dissertation Integrated with Final CDP ........................................................................ 86
Graduation Exhibition............................................................................................................... 86
Educated Fashion Designer....................................................................................................... 86
THE CHALLENGES FOR THE FASHION DESIGNERS...................................................................... 87
CONCLUSION ............................................................................................................................ 88
REFERENCES ............................................................................................................................. 89

INTRODUCTION
Sri Lanka as a developing economy has established a reputation as a quality apparel
a ufa tu e u de the o ld uota egi e o e the last ea s of the i dust s
existence. At present, the country is trying to transform the industry from being a
mere manufacturer to a provider of fully integrated services and penetrate premium
market segments (EDB, 2011). At the same time, if we consider the local fashion
industry, comparatively it is at an embryonic stage. Identifying the needs of a
creative class (Florida, 2002) and understanding a gap in the Sri Lankan education
system, the University of Moratuwa and several private institutions initiated design
education programs simultaneously in 2000. Individually, each program has different

79
objectives in training a fashion designer. In this paper I examine the curriculum
app oa h of the Ba helo of Desig BDes p og a i edu ati g the fashio
desig e to fa e the halle ges of the e e gi g eati e e o o of “ i La ka i
developing a sustainable fashion industry for the country.

Key words: Fashion designer, Design education, Curriculum, Sri Lanka, Fashion
industry

THE CONTEXT: THE FASHION INDUSTRY OF SRI LANKA

Within the present large global entity of fashion system, the national fashion
i dust of “ i La ka i a 'e o o i se se is ased o “ i La ka s appa el
manufacturing industry which manufactures for some of the top buyers and designer
labels in the world. The apparel manufacturing for export plays a pivotal role as a key
driver of “ i La ka s atio al e o o a d has g o to e its ost sig ifi a t
o t i uto o e the last ea s of the i dust s e iste e. “ i La ka has a e
small percentage of market share, but by developing a reputation as a quality
apparel manufacturer, the country is trying to transform the industry from being a
mere manufacturer to a provider of fully integrated services and penetrate premium
market segments (EDB, 2011).

“ i La ka appa el i dust sta ds the sloga , Ga e ts ithout Guilt , hich

maintains five standards: ethical working conditions, free of child labour, free of
forced labour, free of discrimination on any grounds and free of sweatshop practice.
The country has a chance to differentiate itself based on its ethics and ethos and
move up the value chain as well by manufacturing more high-end garments requiring
a relatively higher labour content, product quality and accuracy. The global apparel
value chain is a buyer-driven, labour intensive fashion system where the design and
marketing are concentrated around lead firms of fashion designers and private-label
retailers (Gereffi & Memedovic, 2003) mainly in advanced industrialized countries
and the manufacturing are mainly centred in newly industrializing and emerging
economies. The economic upgrading in the apparel value chain entails in four stages;
(1) assembly/cut, make and trim (CMT), (2) original equipment manufacturing/full
package (OEM), (3) original design manufacturing/full package with design (ODM)
and (4) original brand manufacturing (OBM) (Fernandez-Stark, Frederick & Gereffi,
. Though “ i La ka too sta ted ith CMT i s, o it has upg aded up to
ODM with 90% of its apparel exports going to the EU-151 (48%) and United States
(41%) (Fernandez-Stark, Frederick & Gereffi, 2011).

Apart from the well-established export-oriented apparel industry, the local fashion
industry itself is at an embryonic stage and retail can be considered in its infancy. In
fact, the country is filled with skilled human resources with quality garment
manufacturing capabilities and enriched with many traditional and cultural
resources. In the past, the industry did not have the required expertise to focus on
design and development. However now in Sri Lanka there is a wide range of creative

80
talent in Fashion and Textile Design. There are many traditional techniques that
could be incorporated to infuse a distinctive cultural significance in Sri Lankan
fashion design and garment production. These traditional, cultural and human
capitals can be drawn upon in the process of creative production for local in
developing a sustainable fashion industry as well as for international markets
through value-added production.

DESIGN EDUCATION IN SRI LANKA

The main objective of the university system is to develop study courses of the
highest quality appropriate to national needs and aspirations, in keeping with global
trends (UGC report, 2009). They develop their own mechanisms of staying excellent.
Identifying the needs of a creative class (Florida, 2002) for the changing global
pattern of creative industries and understanding a gap in the education system, the
University of Moratuwa, one of the seventeen national universities in Sri Lanka,
which is famous for Engineering and Architecture studies, initiated integrated design
education programs in 2000. Seeing the opportunity of providing design education,
few private institutions were formed as well simultaneously.

Sri Lankan national universities provide free undergraduate level education;

therefore the admission of students to the study courses is being done on the basis
of an admission policy determined by the University Grants Commission (UGC) with
the concurrence of the Government. Only full time students are admitted. For some
degrees such as Architecture and Design programs, the relevant departments of the
hosting Universities hold a separate aptitude test for the eligible applicants to select
the most applicable creative portion.

Having two different objectives, both the faculties of Engineering and Architecture of
University of Moratuwa started their own Design study program at the same time.
One mainly caters for the design and development skills needed in the apparel
manufacturing industry and the other mainly to cater the need of creative people to
make a change in the production and retail in the local creative industry.

The Faculty of Engineering under the Department of Textile and Clothing Technology
developed the particular four year degree as the Bachelor of Fashion Design and
Product Development (BFDPD). Their main objective of developing the curriculum
has been to fill the apparel industry need of creative people for design and
development. Their main attempt is to produce fashion designers who are enabling
the Sri Lankan apparel industry to move up the value-chain.

The Faculty of Architecture initiated the Bachelor of Design (BDes) four years degree
having five different design specializations. Fashion and Textile Design is one of the
five alongside Furniture, Ceramics, Jewellery and Graphics. Their main objective is to
p odu e desig leade s ho ill ot e jo -seekers but will be job creators for the
society. They try to produce designers who are enabling the local creative industry to

81
develop to a sustainable system and create myriad of paths within the creative fields
of their teaching practice.

Each curriculum shows a context relate approach and can see a strong relying on the
strengths the hosting departments had at the time of program initiation. The main
strengths can be identified as the relationships the departments had with the
existing apparel industry, availability of suitable staff/studio space/technology within
the department, confidence in finding appropriate teaching staff for specialised
areas and the approved government funding. However, each program has their own
competitive edge in getting the reputation as the most suitable fashion education
system provider in the country. But considering the present development pattern of
the country, both the programs are providing timely suitable education towards a
creative economy.

M esea h to a ds the Maste of A ts at ‘MIT U i e sit is a fo us o Fashio as

a C eati e I dust fo De elopi g E o o of “ i La ka . The ai ai is to
u de sta d the ole of the fashio desig e of the e e gi g eati e e o o . A
analysis will be done on the data collected through a questionnaire given to 100
individuals who qualified in fashion design from a local institution. Two case studies
of su essful fashio desig e s ill e ought in to discuss their opportunities and
challenges. Therefore this paper is a scope to develop themes and provide more
evidence towards my main research.

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THE CURRICULUM APPROACH OF THE BACHELOR OF DESIGN (BDES) PROGRAM

Multidisciplinary Design Environment

The strength of the BDes program is its location under the umbrella of Faculty of
Architecture; the only Architecture related studies carrying faculty in Sri Lanka.
Architecture is a profession that involves in shaping the built environment with
special conglomeration, satisfying the social, cultural, functional and aesthetic needs
of a society. The product is larger in scale, tangible and immovable. Similarly, Design
is a professional field of problem solving methodology, satisfying function and
aesthetic; it is also tangible but smaller in scale. Both fields possess common factors
focusing specially on spatiality, creativity, function and aesthetics.
Until the BDes course of study upgraded to a separate department as the
Department of Integrated Design in January 2012, becoming the fourth department
to be under the Faculty of Architecture, it was an undergraduate study course in the
Department of Architecture. Being a part of the Department of Architecture, the
BDes course of study strengthened as an academic program due to the common
foundation they enjoyed with Architecture study course since its initiation.
Therefore it has lot of influence from Architecture.
Charini Sooriyage, a Fashion Designer who graduated in 2005 has talked about her
experien e i lea i g i a A hite tu al e i o e t to the A elia s o li e
Magazi e a s e i g the uestio : A lot of ou pie es of the li ge ie olle tio a e
beautifully structured, with very interesting lines forming shapes and negative
spaces in sometimes unexpected places. Could you tell me a bit more about your
i te est i a hite tu e a d ou desig p o esses? :
I ould sa that it s the i flue e of Ba helor s degree i desig hi h as u der
the Faculty of Architecture where I studied my first year together with the
Architecture students in fact. Clothing creates forms by creating space between the
od a d the e iro e t just as uildi gs reate spa es. A d it s al a s e iti g to
have pleasant little surprises at unexpected moments and places. I want to create
that e ite e t ith desig s…
After having the first level of two semesters of study as a virtual combined year with
Architecture course, the third semester is an introduction to all the design
disciplines: Fashion & Textiles, Jewellery, Ceramics, Furniture and Graphics. The aim
is to promote critical and creative thinking within a multidisciplinary design
environment. The project of educating local students to become the first qualified
creative class (Florida, 2002) to meet challenges requires exposure to the existing
creative industry. The above five fields were identified as such developing creative
industries in Sri Lanka to include in the BDes curriculum and students are given a
chance to understand the close knitted relationships each creative industry carries
with one another. Students display this rich nature of cross-fertilisation with
Architecture and other design disciplines especially in their final semester
Comprehensive Design Project (CDP). At the end of their four years they have gained
a i te dis ipli a a d ad a ed k o ledge of desig ut ith a fo used
understanding of the area of specialisation fitting to their future professional design
practice.

83
Collaborative Work with Local Communities
Sri Lanka is rich with many traditional arts and crafts. There are communities that
still depend on traditional artistry as the basis of their income. The BDes curriculum
i itiato s ha i g ide tif i g the i h ess of the “ i La ka t aditio s i luded li e
design projects in the curriculum where students get the opportunity to get a direct
involvement with the communities and their expertise of many arts and crafts.
Projects are collaborative as students learn their expertise and in return students
give improved design solutions or design options for their current practices of
production. All such projects come under the department research and development
(R&D) practice.

For the students, the learning process carries the problem-solving methodology and
it is as well a practice to work with people within an ethical framework. When
working in any community students have to work with people whose values, beliefs
a d attitudes a e diffe e t f o the . At the e d of these li e p oje ts stude ts
know how to respond such diverse people, situations and how to undertake action
of such scenario together with user based and culture centric design approach. At
the same time students develop critical, analytical, speculative and reflective
problem-solving skills in an integrated manner.

Hands-on Practice with Techniques

A hands-on approach requires students to become active participants instead of
passive learners who listen to lectures or watch any technique being done by a
professional. Other than pattern-making and basic sewing technology, traditional
textile surface treated techniques such as block-printing, screen-printing, tie-dying,
batik, embroidery and appliqué are taught based on hands-on practice.
Understanding the authentic context of very limited resources of machinery and
equipment, students share the facilities building a team environment to achieve
their common goal.

Design Projects of Familiar Context

Design projects were developed with the objective of providing training in one or
more of the skill or knowledge in creativity, art and crafts, technology, social needs
and marketing aspects needed to cater the current needs of the local creative
industry. The projects are of local context based and therefore students are familiar
with the project background. While learning to create innovative, functional or
conceptual products of international standards, the outcome always tries to
maintain the cultural identity of the given context. This cultural identity includes the
unique behavioural patterns of people involved and the environmental factors of the
context. Nature and Tradition are considered as the strongest inspirational sources
for the designs. Design teaching follows the process model and problem-solving
methodology.

84
A problem can be defined in many ways. The definitio hi h is a gap et ee a
u e t a d desi ed state of affai s defi ed Ma C i o a d Ta lo ited
in VanGundy, 2005) is more suitable in identifying a problem in BDes curriculum. At
the same time the problem is always relative.

The student is being guided through the design process by asking many questions in
one-to-one tutoring sessions to help build their own justification around the
restrictions to conceptualize the idea, come up with a theme and finally the design
outcome. At the same ti e the stude t s o fide e is uilt gi i g the autho it
of coming up with the creative solution by the student himself. According to
VanGundy (2005) the more questions asked the better they understand the
problems. One way to enhance the questioning process is to use the basic journalism
fi e uestio s of ho, hat, he e, he a d h Va Gu d , .

After proper research and planning, students build their very first ideas through
sketching. All the three dimensional visualisation and communication of ideas to the
faculty are expected to do via sketching. Then students need to work out on
coloured illustrations to convey their developed ideas more accurately. Depending
on the type of project, a presentation of a collection through illustrations with other
given requirements has been sufficient for some project assessments due to the very
limited number of sewing machines and studio facilities the program has been able
to provide students. In such situations the projects end at the concept level. At other
instances they need to produce one finalised design.

Students do need to produce sample designs at the development stage of their

fourth year final Comprehensive Design Project (CDP). However, for the final
presentation of the examination they produce a complete collection of maximum six
pieces and do very creative presentations. Students are given the freedom to select
the topic for the CDP and they are been moulded under the guidance of the faculty.
Projects differ from arts or craft based to conceptual idea projections.

Industry Experience
After six semesters of study in the BDes program, students have a three months
industrial training. They have the options to select to work at an export oriented
manufacturing factory, a medium or small scale factory, few retailers who are
established with local manufacturing or work for an established individual designer.
There are only very few established individual designers who can provide training
and still all these places interview students prior to the selection of training offer.

Students face a disadvantage of not studying the design and development process
and methods within the apparel industry when they are to find an industrial training
offer. But so far the BDes has gained the full support from them by giving the
students the opportunity to see and learn the inner process of mass manufacturing
by offering industrial training in their companies.

85
Written Dissertation Integrated with Final CDP
After the training period, students have to select a topic for the CDP and during the
seventh semester they have to do a dissertation where they have the option to do
the background research of the CDP as the dissertation. This develops research and
writing skills and gives an in-depth understanding to the final design project they are
to present at the last semester. Writing a dissertation help them to identify the
purpose of the project, express originality and significance, setting appropriate goals,
and maintain strong organization.

Graduation Exhibition
At the very end of the eight semesters, students have to present their work of
progress during the four years of study in the University to the public. The students
who are to be released to the industry as qualified designers get a chance to show
what they are capable of and what they can provide the industry. Holding an
exhibition of student work is predominantly a marketing activity. Yet, it gives the
young upcoming designers the exposure of meeting the delegates of the industry,
build an audience for the creative work and build relationships with those who are in
si ila eati e p a ti es. At the sa e ti e this a ual desig stude ts e hi itio
create a great experience for attendees and the BDes program as well get word-of-
mouth and media publicity about their achievement.

Educated Fashion Designer

Designers are the creators of new experiences. According to Press and Cooper
to e a desig e is a ultu al optio : desig e s eate ultu e, eate
e pe ie e a d ea i g fo people . They too mention three equally essential
qualities that designers should possess; resourcefulness, innovativeness and
supple ess. Designers are a combination of craft maker, cultural intermediary and
opportunistic entrepreneur. .. They are skilled researchers, life-long learners, who
understand that design – as a very process of change itself – must be informed by
ha gi g k o ledge (Press & Cooper, 2003). The BDes curriculum approach aims to
eate a fashio desig e ho possesses these ualities.

Designers should be active (Press & Cooper, 2003) and responsible participants of a
society. As a developing economy, Sri Lanka is not running as fast as other countries.
When a local fashion industry is as embryonic as in Sri Lanka, the advantage is to
identify the patterns, learn from the mistakes and value the correct judgements.
Many countries have come through stages in fashion. For the majority fashion is now
a business. Identifying the weaknesses in the industry there are concepts and actions
such as sustainability, ethical, eco-friendly, slow fashion etc. being introduced and
practiced all over the world as if to correct or as a solution to the future threats.
Whe the fashio desig e is t ai ed th ough a p o le sol i g ethodolog to
foresee, s/he could be the ideal drive-shaft to take responsible acts and face the
challenges in developing a sustainable fashion industry for Sri Lanka.

86
THE CHALLENGES FOR THE FASHION DESIGNERS
At present, having a very young spirit of Fashion Designers within the country, there
are many challenges for them to realise and face for a sustainable fashion industry.
As a developing economy what the country tries to do is to develop the apparel
export industry to the maximum and gain a very stable position in the global market.
The unrealised factor is that the country does need to develop the quality of design,
production and retail within the country as well to uplift the image of its fashion
consciousness. Sri Lanka has to build a comprehensive fashion industry by
developing their own trademarks and having the right materials, design, production
and distribution within the country.

Towards building a comprehensive industry there are many challenges to make it

fi st sustai a le. I o side the edu ated Fashio Desig e as the d i e-shaft for a
local sustainable fashion industry. Yet, some challenges are hard to reach. The key
consideration is the financial backing and establishment and development of
businesses.

Many a number of designers who were educated to create a change in the local
market move to work in the export apparel industry to find their living and some
with the intention to find the financial stability to start their own label. They do get
hired for their performance they have shown as a student. But they start as trainees
while graduates of other programs who learnt deliberately to fill the designer need
in the industry start from junior positions. Another trend of hiring a fashion designer
is appearing with the textile and clothing companies of locally established retail. This
is seen as a good opportunity for the graduates.

There is another category which is the minority who try to start from scratch to build
a lo al desig e la el. Those fashio desig e s affiliatio ith i esto s o asso iates
of either during the whole design and development process or at material sourcing
or at manufacturing or at selling remains a challenge. Above all, finding investors or
associates to establish or develop a business seems an unrealistic issue for many.

Gai i g a eputatio a d e og itio to the p ofessio of fashio desig e is also a

challenge they face. Being in a developing country they are behind with exposure to
new technologies. Another basic issue is that as most of them are from the middle
income or below category they do not have much experience to different lifestyle
opportunities, which is a benefit to think a few steps ahead of the trends, and be
ready to adapt to changing market demands. Apart from all these, lack of market
information, such as contact details, skills, capabilities and resources of the
investors, suppliers, manufacturers and sellers available for reference remains an
issue that impedes industry collaborations.

87
CONCLUSION
Fashion designers who can be considered as a part of the emerging creative class
(Florida, 2002) of Sri Lanka have been educated to act responsibly and systematically
to step in to the creative economy. Even though having very minimum teaching
resources, the BDes study program has taken the initial step by releasing educated
creative people to face the challenges and bring a change to the present system of
fashio i dust i the ou t . If the pa ti ula fashio desig e is a jo eato ; a
drive-shaft to the system, there will be many different paths towards a sustainable
fashion industry. Because s/he is receiving a context related methodical education
based on problem-solving, graduates understand the local needs, culture, traditions
and the people with whom they are working and for whom they are designing.

Note – Page 2:
1
EU-15 area countries are: Austria, Belgium, Denmark, Finland, France, Germany,
Greece, Ireland, Italy, Luxembourg, Netherlands, Portugal, Spain, Sweden and United
Kingdom.

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REFERENCES

EDB 2010. Strategic Plan 2011-2015. Colombo: Export Development Board, Sri Lanka.

Fernandez-Stark, K., Frederick, S. & Gereffi, G. 2011. Skills for Upgrading: Workforce
Development and Global Value Chains in Developing Countries. The Apparel Global
Value Chain: Economic Upgrading and Workforce Development. The Duke University
Center on Globalization, Governance & Competitiveness.

Florida, R. 2002. The Rise of the Creative Class, New York, Basic Books.

Gereffi, G. & Memedovic, O. 2003. The Global Apparel Value Chain: What Prospects
for Upgrading by Developing Countries. Sectoral Studies series. Vienna: United
Nations Industrial Development Organization.

Presss, M. & Cooper, R. 2003. The design experience : the role of design and
designers in the twenty-first century, Aldershot, Hants, Burlington Ashgate.

UGC 2009. University Grant Commition Sri Lanka: thirty first annual report. Colombo:
UGC Sri Lanka.

VanGundy, A. B. 2005. 101 Activities for Creativity and Problem Solving San
Francisco, Pfeiffer.

(Words: 3,750)
Ruwandika Senanayake
RMIT University

89
 Dress Colle tio s a d Fashio Edu atio

Rebecca Evans
Assistant Registrar, Powerhouse Museum, Sydney

Contents
_Toc330217021
Fashion education from the perspective of a Museum professional ........................ 91
The Australian Dress Register and fashion education .............................................. 91
History and Significance ....................................................................................... 91
Dimensions .......................................................................................................... 92
Construction ........................................................................................................ 92
Alterations ........................................................................................................... 92
References .............................................................................................................. 97

90
Fashion education from the perspective of a Museum professional
Dress collections have much to offer students of fashion, costume and textiles. Through
exhibitions, collection tours and collaboration with educators there has been a long history
of students utilising such collections. There is nothing quite like seeing a garment in the
flesh, the real thing, and examining its shape, construction, fabric and style. From Valentino
at the Queensland Art Gallery in 2010 to The White Wedding Dress at Bendigo Art Gallery in
2011, there has been a range of popular fashion related exhibitions in Australia of late.
What is seen in these exhibitions, however, is a tiny proportion of what is actually held in
museum and gallery fashion collections.

When I first started working at the Powerhouse Museum, I was amazed by the number of
wonderful items in the Fashion and Textiles collection. At the same time I was dismayed that
most people were unable to see the items like I could. How to provide access to collections
for the public, including students is an issue that many museums have struggled with over
the years. Although online databases have been around for a while they did not document
dress so as to provide the same information found when examining a garment in the flesh.

The Australian Dress Register is an initiative that began as a way to answer this question in
the Po e house Museu s p a ti e. The Australian Dress Register is a collaborative, online
p oje t do u e ti g d ess i Ne “outh Wales. This i ludes e s, o e 's a d hild e 's
clothing ranging from the special occasion to the everyday. Museums and private collectors
are encouraged to research their garments and share the stories and photographs while the
information is still available and within living memory. The Register encourages people to
consider their collections very broadly and share what they know about members of their
community, what they wore and life in the past. This provides access to a world-wide
audience while keeping their garments in their relevant location.

 To do u e t p o e a e e s, o e s a d hild e s d ess i Ne “outh Wales

The Australian Dress Register aims to:

dating up to 1945.
•To assist museums and private collectors to recognise and research their dress
collections.
•To support better care and management.
•To engender an improved understanding of dress in its wider historical context.
•To help to ensure information about its origins is recorded while still available and
within living memory.
•To provide an evolving forum for discussion and enhanced documentation.

The Australian Dress Register and fashion education

One of the main purposes of the Australian Dress Register other than documenting historic
dress is in providing a resource for students including TAFE, tertiary and secondary. This is
especially focused on students studying fashion, costume and textiles and it is hope that
they will use the database to be inspired and informed as they complete their studies. The
Dress Register documents extensive information relating to the history and physical
appearance of a garment. This includes:

History and Significance

The Dress Register documents the history and significance of an outfit. This includes, who
wore it to where and when as well as the importance of an outfit to its wider historical
context.

91
Dimensions
The Register also documents a range of dimensions. These include everything from the size
of the ea e s aist to the shape of the body constricted and formed by prevailing
fashions.

Construction
Information relating to construction is also recorded in the register. Does the garment
feature French seams or bias binding, a zipper or buttons? These elements reflect
construction details of dress from a particular period.

Alterations
Alterations can tell much about how a garment was worn through generations and periods
as ell as eight ha ge i a pe so s life su h p eg a .

Looking at some specific examples from the dress register, it can be seen how documenting
dress can assist with understanding the history and significance of a garment.

Check skirt, made and worn by Sarah Thomas, Albion Park, NSW, Australia c. 1840 Photo:
Rebecca Evans Collection: Tongarra Museum

This skirt was owned and made by Sarah Thomas, who settled in Albion Park, NSW from
E gla d i ith he hus a d a d fa il . U fo tu atel , the odi e of this outfit has t
survived. This skirt currently resides in the Tongarra Museum collection, Albion Park. Sarah
wore this skirt during the early part of her life in Australia. This skirt is part of a larger
collection of objects relating to the Thomas family that paint for us a picture of the life of
Sarah Thomas.

Although the original bodice for this skirt has not survived, this is an important example of
early Colonial dress in Australia. It tells us intriguing information about the wearer as well as
what was considered fashionable in regional Australia during the 1840s. After documenting
this garment for the Australian Dress Register I encountered another similar item in the
Po e house Museu s collection. This check bodice and skirt in blue grey and brown is
surprisingly similar in construction and design to the skirt worn by Sarah Thomas.

92
 Day dress, silk, maker unknown, Australia, C. 1845 Photo: Sue Stafford, Powerhouse
Museum collection

The centre front features five bias cut folded strips of fabric extending from the waist to the
hem and down the central strip there are several fabric-covered buttons. In addition, these
skirts are made of silk taffeta and have distinctive plaid or check design, popular during the
1840s.

Detail, Day dress, silk, maker unknown, Australia, C. 1845 Photo: Rebecca Evans,
Powerhouse Museum collection

93
Detail, Check skirt, made and worn by Sarah Thomas, Albion Park, NSW, Australia c. 1840
Photo: Rebecca Evans Collection: Tongarra Museum

One of the main differences, between these skirts is at the waist bands. Sarah Thomas ski t
has a thin waistband, softly gathered skirt, with a small section of gathered fabric at either
side of the e t e a k ope i g. The outfit i the Po e house Museu s olle tio , o the
other hand, is gathered using organ pleating. Organ pleating is used to gather a very wide
width of fabric into a small section. This means that there is much more fabric in the
Powerhouse outfit than the Sarah Thomas skirt. Although the styles of these skirts are
similar, the slight differences in the construction of their waists give insight into the people
who wore them. The Sarah Thomas skirt uses much less fabric than the Powerhouse outfit
a d at the sea s the fa i patte does t uite li e-up. It can be assumed that Sarah
Thomas used less fabric in her outfit for reasons of economy. Economy is further shown
through the use of gathering around the centre back of the skirt. This allows the waistband
to be expanded and contracted during pregnancy and so that somebody of another shape
and size may wear it. In addition there are many lengths of different coloured thread
employed in the manufacture of the garment, again indicating frugality.

Detail, Check skirt, made and worn by Sarah Thomas, Albion Park, NSW, Australia c. 1840
Photo: Rebecca Evans Collection: Tongarra Museum

Upon close inspection the shape of the bodice can also be determined by rows of tiny
needle holes around the waist, showing where the bodice was secured to the skirt. These
rows form a deep-V at the centre front indicating that the garment was in fact in the style of
1840s European dress.

94
Detail, Check skirt, made and worn by Sarah Thomas, Albion Park, NSW, Australia c. 1840
Photo: Rebecca Evans Collection: Tongarra Museum

The Powerhouse dress with its skillfully sewn overstitched seams, gauging, pattern matching
at the seams, organ pleats and beautifully fitted lining, on the other hand, was likely to have
ee ade a p ofessio al. It uses the sa e olou th ead th oughout a d does t ha e
any of the quirks that would easily allow it to change shape and size.

Crimson bodice, owned by Bessie Rouse, Rouse Hill, New South Wales, Australia, 1874-1876,
Photo: Alex Kershaw, Collection: Historic Houses of NSW

This crimson figured silk bodice extends is constructed in eight panels to give a shapely fit.
The low square neck is piped with burgundy satin. The bodice fastens with 9 ruby glass
gilded and painted buttons & hand sewn buttonholes. The original sleeves, probably in
matching fabric, have been replaced with cream figured machine embroidered net sleeves
extending over the hand in points and lined with pink muslin. Six of the bust darts have been
reinforced with whalebone, two back bones missing. The pieced back ends in a 'fish tail'
shaped to sit over a bustle skirt. The bodice is lined with glazed cotton and the seams cut to
enhance shape and finished by hand. A fine 10mm cream silk ribbon has been attached

95
inside the buttonhole side of the opening to firm up the right front which is shaped and not
cut on the straight grain. The garment seams are machine sewn and it is finished by hand.
There is one surviving panel of the original skirt. It is the left centre back train panel whose
hem is at a 30' angle. It is lined with very fine brown gauze and faced with brown silk taffeta.

This crimson bodice was probably worn by Bessie Rouse as an elegant presentation robe,
possibly before she was married to Edwin Stephen Rouse in 1874. Bessie remained the
influential mistress of Rouse Hill House from her marriage until 1924. Her outfit does not
show extensive signs of wear although Bessie appears to have moved the red glass buttons
across 30mm to allow for an expanding waistline. This may possibly relate to her two
pregnancies. Presentation robes often boasted extravagant trained skirts and garments
were often altered for later, more practical use. Though we have no exact confirmation that
this was worn to a vice regal function, the Rouse's were a significant and successful family
living thirty kilometers west of Sydney who entertained many interesting friends including
writer Banjo Paterson and were invited to prestigious events in Sydney when they would
stay with Bessie's parents, the Buchanans, in Darlinghurst.

The minimal remains of the skirt are characteristic of the resourceful use and reuse of
clothing in this family collection. Little was discarded and fabric was used over again for
different members of the family and purposes until it ended up many years later in the
dressing up box. Another skirt was recently discovered at Rouse Hill in a bundle of many
pieces, awaiting a creative spirit to revamp the design. The family was resourceful, typical of
their time, and having plenty of space on the property, kept many oddments that are now
precious indicators of a past lifestyle.

Day dress, made by David Jones Pty Ltd, Sydney, New South Wales, Australia, owned by Mrs
Grimley, Sydney, New South Wales, Australia 1890 – 1900. Photo: Penelope Clay, Collection:
Powerhouse Museum

Much has been written recently about environmental and ethical sustainability in the
contemporary fashion industry. At the recent Australia Fashio ‘esear her s forum at RMIT

96
producing longevity of consumption in a garment was discussed. This included creating
designs that last more than one season and citing the historic fashion industry of Australia. It
was concluded that this past industry has much to offer in terms of designs, construction
and production to contemporary design practices.

This dress by David Jones is an example of an historic outfit that can inspire a more
sustainable approach to contemporary fashion. This dress is significant as the earliest
labeled David Jones outfit in the Powerhouse Museum's collection. It was made by David
Jones in Sydney about 1895. Established in 1838, David Jones is the oldest department store
in the world still trading today.

The dress consists of a bodice and skirt accompanied by a pair of ¾ exchange sleeves
trimmed with lace. These exchange sleeves enable the dress to be worn in the evening as
well as during the day. Innovations such as this enable a garment to be worn for more than
one occasion. It egs the uestio , h a e t ga e ts like this a aila le i Aust alia s high
street fashion stores? Looking back at the historic fashion industry, especially in terms of
design and construction, a more sustainable approach to the contemporary fashion industry
can be achieved.

There are infinite possibilities for the use of the Australian Dress Register for fashion
education in Australian and worldwide. From the simple construction of a bow to the
industry that produced a garment there is much to be gleaned from the careful
documentation of historic garments. For the Powerhouse Museum staff who have worked
on this project over the last few years, it will be thrilling to see how the Register is used in
fashion education in the future.

This paper was written in collaboration with Powerhouse Museum staff, especially Curator
Lindie Ward, as well as other contributors of the Australian Dress Register.

Rebecca Evans has worked as an Assistant Curator and Assistant Registrar since 2009 at the
Powerhouse Museum, Sydney. She has worked on a number of fashion and textile related
exhibitions and collections. Rebecca is also currently completing a MA Design at the
University of Technology, Sydney looking at the influence of Indian made fabrics on early
Colonial dress in Sydney. She makes ample use of the Powerhouse collection of fashion, dress
and textiles in her research.
For more information on Rebecca see:
http://www.powerhousemuseum.com/collection/blog/index.php/2011/11/rebecca-evans/

References
http://www.australiandressregister.org/resources/
http://www.australiandressregister.org/garment/31/
http://www.australiandressregister.org/garment/207/
http://www.australiandressregister.org/garment/357/

97
 Weari g Matters: E gagi g users a d ha gi g
relatio ships ith lothes

Dr. Aliso Gill

U i e sit of Weste “ d e

Contents

Introduction ............................................................................................................. 99
Proximity to ‘users’ ............................................................................................... 100
Wearing: theories of practice and social change ..................................................... 101
Ethnographies of Wearing: coming to know an actual user? .................................. 104
Counter-rhythms and lifetimes: Participatory methods in sustainable fashion design
.............................................................................................................................. 106
Reference list ........................................................................................................ 110

98
Introduction
A practice oriented view of sustainable fashion design proposes that contributing to a
sustainable material culture is just as much about changing relationships with the things we
use, as it is about designing and making new things sustainably (Gill and Mellick Lopes 2011).
The concept of sustainable fashion immediately declares a paradox. It represents the
necessary reconciliation of the incompatible temporalities of long lasting, low impact
engagements with clothes and systemic impulses to update fashionably. This has
represented a barrier to changing relationships and patterns of use, as the massive material
detritus of post-consumer textile waste indicates short product lifespans due to material or
fleeting fashion value, and the prevalence of short-term disposable, relationships.

Inspired by the popularity of user-centred design approaches in various fields of design and
the imperative of sustainable design theory to foster enduring product engagements, this
paper proposes to look at what user-centred design might mean in fashion design research
and pedagogy. User-centred design approaches have been thought to deliver better quality
products by giving the stakeholders a voice to improve the design, and it has been argued
that the implementation of participatory methods in design process might better ensure
products that align with the goals of sustainable design for low impact and enduring product
lifespans (Fletcher 2008; Gwilt & Rissanen 2011; Wanders 2009). Kate Fletcher has argued
that the primary focus of innovation for sustainable fashion has been the manufacturing
phases and the lessening of the considerable impacts of textile preparation (agriculture,
fibre mills, dye houses) and garment making, and that lifecycle thinking confers a distinctive
way of framing the problem of sustainability for industry as interconnected phases of a
whole product system – design, production, manufacturing, distribution, use, disposal and
beyond – indicating broader responsibilities and potential points of intervention to which
researchers must attend (Fletcher 2011, p.168-171). Her argument highlights the
importance of considering the smaller human scale use phase, a view confirmed by others
(see Gwilt & Rissanen 2011). If designers are interested in delivering sustainable design
solutions that are aligned with the capacities of users to support them, how do they think
this through in relation to the end-user, to what comes after purchase – i.e use and the use
phase?

Ethnographic methods are becoming popular in fields of design as a way to get to know
a tual use s . I ill o side a ouple of eth og aphies so ial esea he s ho i estigate
relationships with clothing and fashion, as one established method of reaching an actual
use . Ho e e , the fi di gs of these eth og aphies a e ot o e ted to the field of
fashion design, and it is still unclear how this information can be framed to inform the design
process. The sociology of socio-te h i al p a ti es, ofte alled p a ti e theo , p o ides a
platform to frame these findings as significant to design and to challenge the prevalent
figu i g of the use i fashio studies as a u h a ti ipated o su e . Fashio studies has
taken its lead from the sociology of consumption in theorizing fashion production systems
and retailing as the production of symbolic objects with which consumers engage both at
the points of shopping for and acquiring clothing, and theorizing the practices of wearing as
a communicative performance of identity through semiotic assemblage. These approaches
o ti ue to f a e the lothi g use as a o su e – i.e a purchaser of symbolic product –
at an end point in the commodity fashion chain, an end point that becomes a particular
point of focus for designers in producing for an ideal customer and target market. This paper
will survey the way in which the clothing user has been mobilized in several approaches to
the design process in sustainable fashion design to introduce tensions around the figure of

99
the consumer/user and to invite alternative patterns of use and material resourcefulness. It
includes a taxonomy of the user across a range of projects the analysis of which is too long
to include in this paper, and will be a more central part of the presentation at the August
symposium (Figure 1). This paper provides the background to this taxonomy. It proposes
that a practice-oriented approach is quite valuable in giving access to a larger set of user
experiences, insights that take us beyond the point of purchase, and tie clothing to wearing
and related acts and their differing flows, value-changes, points of material accumulation,
attachment and break-down in everyday interactions with clothing. The point in tracing
user- e t ed o st u tio s, is to i i thei o je ti e i lo ati g i tellige e (user
intelligences; intelligence about the user) that can inform designing, however, along the way
various complexities are revealed about such an approach.

Pro i it to users

McHardy et al. have shown in their analysis of various conceptions of the user at work in the
design process, that the figure of the user is a key to holding socio-material relations
together (McHardy, Wolf Olsen, Southern & Shove 2010). The notion of coming to
understand the way people and things are in mutual interplay for improving the delivery of
products is not new and various techniques for investigating user involvement have become
increasingly popular in research and design. McHardy et al. (2010, p. 97) explain that this
conceptual move to investigate human activities in the 1980s took place in several fields at
about the same time, but plays itself out differently in areas such as design, computing,
contemporary art practices, and the social sciences. In many design fields, the notion of
user-centred design has given rise to a methodological industry of methods to collect and
extract information from audiences and consumers of design, with the view that the
production of meaningful, relevant, current, legitimate and responsible design required an
understanding of human interaction with things. Participatory design methodologies have
become widely used in software development and game design to establish the practices of
possible future users for developing software systems, with the idea that these users co-
develop software and technology based on their required interactions and experiences
(McHardy et al. 97). This idea of the end-user as a co-designer is part of the participatory
approaches developed in product design by Elizabeth Sanders and IDEO.

Some argue in various fields of design that our time puts the designer and user in the closest
proximity yet to be experienced, and in a way that the perceived relativity of utility and
specific problems of use mark the impossibility of designing universal solutions (Blauvelt
2008; Baur in Wanders 2009). Baur has argued that a set of conditions made possible by
information and open source communication systems has meant that a feeli g of p o i it
prevails, closeness is valued and fostered, in which the designer, producer and retailer are
i i g a k p o i it to the o su e i Wa de s , p. . The p osu e of Fli ke ,
Myspace and Facebook recasts the media consumer as a creative agent in the guise of the
DIY-designer, or in another hybrid joining of producer and end-user, by the name produser.
In response to these conditions that foster co-production, Baur argues the designer
e o es a e pe t eigh o a d a olla o ator who is able to develop solutions to specific
problems. Slow fashion advocates argue that the values of localism and responsiveness to
users are particularly important to developing a sense of collective responsibility to change a
profligate industrial system, to create quality long-lasting design and scenarios for designing
that alig o e a efull ith people s lothi g p a ti es. He e the e is a i pli it
u de sta di g that the use s e ou te s ith fashio a o e at slo e ates tha the
supply-chain of industry. In this context of slower, sustainable practices of fashion, the

100
objective is to not only challenge the speed of production but also the assumption that the
use a ts o l ui k fashio hits i e e i easi g fast les of e e al.3 Influential
figu e i fou di g the slo desig o e e t, Ezio Ma zi i ote i the id s It s a
time for a new generation of products that can age slowly and in a dignified way, become
ou pa t e s i life, a d suppo t ou e o ies ited i Ve eek & Kockelkoren 1998). Here
Manzini points to a necessary shift in the value that design objects can come to have after
nurturing attachment with products and slow modes of engagement that value endurance.
The notion of product durability is multi-faceted, not only a consideration of improving
technical performance, but also investigating the emotional and psychological dimensions
associated with making things stick with us and the values they come to have and influence
their use-end. Dutch Industrial design group Eternally Yours (van Hinte 1997 & 2004) were
influential in arguing that psychological value was fundamental to enhancing product
durability and design researchers such as Jonathan Chapman, Tim Cooper and Miles Park
continue the investigation of emotional durability in products and its practical application in
design (Chapman, 2005; Cooper, 2010; Park in Cooper, 2010).

I spi ed M Ha d et al. s de o st u tio of the use , e a see that a keti g the

use allo s us to ask a se ies of uestions about the way in which this figure is mobilized in
design process and research. It enables questions to be asked about the way in which
concepts of use, utility, and value are assumed and integrated into the design process. In
simple terms, asking about the use helps us to see e o d utilit as the defining feature of
use practices, to ask questions about how designers anticipate and respond to the shifts in
meaning and value that are part of user engagement with things like clothing, and used to
build new relationships.

The following section will explain that the theory of practices and investigating day-to-day
practice scenarios where the dynamic appropriation of things goes on, has become
influential to sustainable design theory, and offers one app oa h to use -centred- ess.
What does it ea to e t e the use ?

Wearing: theories of practice and social change

In this section, I consider what a conception of clothing use and user looks like from a
practice orientation, in the simple sense that ea i g is a p a ti e a d e e da ea i g
practices could be said to yield a user-centred perspective on the system of things that
fashion designers produce. This section also explains arguments about the strengths of such
an approach for social change f o ithi p a ti e theo “ho e, Watso , Ha d & I g a
2007; Warde 2005; Shove 2010).

Wearing can be defined as an engagement(s) with the materials of dress/clothing, often a

e u i g e gage e t o e ti e, as pa t of the outi e a o plish e t of what people
take to e o al a s of life “ho e , p. . To defi e ea i g as a pla e-specific
engagement between artefact, body and context gives us access to the social life of design
a d a pe spe ti e o use as a d a i a d o goi g a hie e e t i a life o ld ‘edst ö
, p. athe tha as a e d phase of the desig p o ess. This ie of use is
particularly important to see the relation between the system of things that fashion

3
This challenge is to go against the trend of increased consumer spending on clothing, aided by
decreasing clothing prices (Allwood et al. cited in Gwilt and Rissanen 2011, p. 141). Allwood et al.
argue that significant increases in textile waste in the UK indicate faster cycles of material throughput
from increased consumption.

101
designers produce and the dynamics of everyday social practices. Wearing is an embodied,
habitual, material practice in which competencies, preferences and tastes are developed
and routines unfold as self-defining acts. These self-defining acts incorporate the influences
of fashionable wearing, circulating as i ages of doi g fashio p ope l , so ial elatio ships
as ell as o e tio s of hat o ks a d app op iate ess. To put o a pie e of lothi g –
to wear – is to describe a practice of getting dressed to meet demands for utility, symbolism
and value but also a modality of becoming in clothing.

Predominantly clothed accomplishments mark our embodied, social and artifactual

relationships but also periods of lives and memories, distinctions between night and day,
and values such as formality and informality. Dressing is a defining way of being in the world,
a way in which people engage with a sense of who they are and their place; in the process of
wearing, objects are worn in and out as they respond to the body, a reciprocal, intimate
connecting of the wearer to the cloth while simultaneously marking the pubic sphere
(Woodward 2007). Yet, in its closeness, its every-dayness, wearing is taken for granted and
such tacit practice commonly equates to un-thought practice. A practice orientation allows
us to produce understandings of the often unspoken dynamics of mutual appropriation that
go o as people a d thi gs atta h the sel es, that o e tio s of o po t e t a d
coordination like walking in ultra high heels constitute competence necessary for wearing,
like the know how of what works for a particular dressed occasion; competences are
embodied as a product of co-e ol i g elatio s et ee p a ti es a d o ple es of
ate ial a tefa ts. “o ial theo ists ha e de eloped o e astute o a ula ies fo use that
des i e people s e e da e gage e t a d atta h e ts ith desig ed thi gs, a d at thei
best, develop a sensitivity to how reproducing practices work over time and distribute
agency for meaning-making between human and non-hu a . Use is he e designer,
wearer, practice and clothing are co-implicated in acts of making and re-making self;
efle tio o ea i g, as opposed to the p edi ti e fit of fi ished p odu ts, pe its us to
see attachment as it evolves and shifts, as a discovery of things coming into value and
meaning, and possibly when there is a parting of the ways.

Attachment begins at the anticipation and point of purchase. Of particular significance is

Wa de s ie of o su ptio as so ethi g that outi el takes pla e ot fo its o n sake
ut as pa t of the effe ti e a o plish e t of p a ti e “ho e et al. , p. . I his
analysis, the point of acquisition of an object is emphasized less than a potentially ongoing
practice in which consumption (both conspicuous and inconspicuous) is a part and in which
a o je t s ea i g a d alue take shape. Wa de otes that the o ept of o su ptio is
a syncretic concept displaying a chronic ambivalence between two contrasting senses of
purchase and use-up (137). What is obfuscated is the activity that has to occur after
purchase and prior to using-up, being the use-phase where things are worn-in, worn down
and worn out as they belong with practices, and there are often residues and remainders in
the sense of rags and waste. What can be u de stood as o su e eeds a e ade a d
ha ged use , as Wa de a gues that eeds a d hoi es a e ofte a o olla of
the a i hi h p a ti es a e o ga ized a d a e sho to e e ge a d disappea as the
result of the ongoing reproductio a d t a sfo atio of p a ti e “ho e et al. , .

Shove et al. (2007) argues that the underlying theory of situated action upon which practice
theories depend has the potential to unsettle the conception of the core business of
designing as the equipping of things with specific qualities required for the next stage of
their career. In this core business, the user is defined – frequently through market research –
to have pre-existing needs which are to be met by the qualities embedded in the object. This
raises questions about methods for delivering these needs, as well as for knowing what they

102
are. There is no doubt that the careful understanding of consumer needs is crucial and has
motivated many design opportunities and solutions. Shove et al. (2007) explain the tensions
that are introduced by user-centred approaches into this core business (which already sees
its focus to be on the user), and the unsettling nature of constructionist ideologies at the
centre of practice-oriented social sciences;
Whilst the ambition of meeting need has helped sustain the status and identity
of the design profession as a whole, it embodies and reproduces an essentialist
view of demand and value that is at odds with the more constructivist
approaches of much conte po a so ial s ie e. I o i all , desig e s effo ts
to understand the user have been framed in such a way that they obscure the
crucial point that rather than simply meeting needs, artefacts are actively
implicated in creating new practices and with them new patterns of
demand.(p9-10)

Willis akes a si ila poi t, people as use s a e shaped hat the use to su h a e te t
that there is no authentic core or fountain of genuine need to be uncovered by user-centred
researchers from under the layers of thei use ha its . The i pli atio s fo the desig
profession and its clients of user-centred approaches are inspiring many different interests
and methods in practice – i.e. human-centred, people-centred, experience design, co-design
– and at its most critical, points to a re-thinking of design (Redström, 2006). Design is re-
thinking its provision of finished products and starting to build flexible contexts for
e pe ie e, p odu ts ope fo othe s to o plete a d hi h people a adapt a d shape
to thei o pu pose Hill ited i “ho e et al. , ; see also O e eeke et al. ited in
Shove et al.2007, 132; for related arguments see also Chapman 2005; Tonkinwise 2005).
From this platform for new design thinking, the designer figures as a reflective expert
amongst a range of players and the user is a co-producer of values and their own
experiences.

A practice-oriented design can encourage a dialogue with wearers about the small scale
doings that constitute a sense of normal life, and through this solicit insight about the way
needs and values are generated in situated complexes of material provision. Important too,
is to see that the investigation of one practice often connects to insights into related
practices, in the way that wearing relates to matters of selection, laundering, accumulation,
organizing, sorting and discarding of clothes, and when the concerns of these related
practices are included, it allows us to see where particular points of interest – say accrual
and shifts in value of particular items – occur in wearing that are a key to understanding
relationships.

The methods and findings of social practice theorists like Shove have been influential in
developing particular theories and policy about social change to meet the challenges of
sustainability and a profligate system of consumption. Her ideas have been solicited in
response to the UK government framing policy to support pro-environmental behaviours
a d a o te t he e the e is a e og ized eed to ake ajo ha ges i the a e
eet ou eeds a d aspi atio s th ough a u sustai a le s ste of o su ptio “ho e
2010). Shove has argued against behavioural change approaches that try to influence causal
attitudes, opinions and choices to alter behavior, instead proposing that there is better
scope for identifying and manipulating change in the analysis of routine practices that
de ide o al a s of doi g. “ho e s a al sis of the esou e-intensive practices of
daily laundering illustrates how a specific formulation of laundering is kept alive and in
circulation as a normal practice, and maintains a perception of acceptable levels of hygiene
and cleanliness, with the consequent impacts on the environment from energy and water

103
use associated with laundering. Observing the meta-theoretical tenets informing these
a al ses, Wa de otes ,p the p i ipal implication of a theory of practice is that
the sou es of ha ge eha io lie i the de elop e t of p a ti es the sel es , i the
capacity to account for reproduction (routine, habit, repetition) and innovation (change,
transformation, difference). From this position, two points can be made. From observing the
circumstances of practice, we can identify sustain-abilities as change or innovation, pro-
environmental actions that reduce resource intensive consumption and that promote the
careful conservation of materials. These observations are valuable as a means to support
and grow these changes which stand out as points of malleability in a seemingly
unstoppable system of consumption, but also as they are based on an understanding of the
evolution, shared understandings and context of the changing practices. Secondly, this
position encourages the view that, following Shove, it is more constructive to attend to
these kinds of changes and foster new kinds of normal practices, than it is to re-model new
objects or infrastructures, necessary to support practices (Shove 2007, p. 151; Gill & Mellick
Lopes . This leads to i pli atio s fo desig a d ho it u de sta ds i o atio as it
follows that innovation in products are almost certainly tied to and emerge from innovations
in practices.4 Also, it suggests consequences for the way in which design innovation unfolds
and clearly defines its aim to be one of situating design in the intelligences of practice and
the relationships formed between artefacts and people.

Ethnographies of Wearing: coming to know an actual user?

One of the research methods employed to find knowledge of actual people as users is
ethnography, and in design there is an increasing turn to ethnomethodologies to know more
about people as users of design. The ethnographies of wearing that follow a social theory
app oa h to esea hi g do esti a d othe use s e a ios a e t o e ted to fashio
design (such as Woodward 2007; Gregson and Beale 2004; Gregson and Crewe 2003; Banim
and Guy 2001) and their practice-orientation seems out of sync with the prevalent focus of
the industry in generating new pieces on trend and supplying the commodity chain. Here,
the detail of observations would suggest a way of designers getting one step closer to a user,
by familiarizing oneself with the small-scale details of human activity and the findings about
the subjects of a reflective noticing.

A st o g ase fo u a eth og aph i the ho e, “ophie Wood a d s Why Women Wear

What they Wear (2007)includes a deep study of use via field observation, life-history
interviews and participant dia ies of the a k-stages of o e s d essi g. I alli g these
a k-stages, Wood a d s o e is ith o e s sele tio of hat to ea , thei
negotiation of their wardrobes as well as circulating images of fashionability, and the
practices of wearing lothi g that u de pi the f o t-stage public presentation of the self
i d ess. The sig ifi a e of Wood a d s app oa h is that it supple e ts a fo us o the
front-stage, the interpretation of the publicly presented and finished dressed body, with a

4
For example, Shove and Pantzar (2005) analyse the emergent sport of Nordic walking, speed walking
with two sticks, as a reinvention of the routine practice of walking, arguing that walkers are not
simply using sticks they are reproducing the practice of walking. Nordic walking arises from the active
and ongoing integration of images, artefacts and forms of competence, as a successive and localized
variation, a reinvention, of walking. They show that innovations in practice depend upon the active
integration of elements, some new (like linking sticks with enjoyment), some already well established
(walking for health and pleasure, and incorporating specialist clothing and boots in the sense of
mountaineering equipment), and challenging others (infirmity associated with sticks) that together
constitute a dynamic interaction between equipment and the performance of practice.

104
situated approach to object-based analysis and the competencies and preferences that
connect material objects to living practices in the sense of everyday observations,
understandings, relationships and assembling of outfits. As a contribution to material culture
studies in its careful observation of material forms, this ethnography evidences clothing
garments – worn artefacts – as living entities, with embedded knowledge as well as the
potential for magical transformative capacity. In addition to frank moments in front of the
mirror as women evaluate body image and their own ambivalences about dress,
Wood a d s stud o e ts the o e f e ue tl o ealed spa e of the a d o e – most
often hidden behind large doors, as well as being concealed from public view as in the home
and bedroom – i to aki g p ese es of efle tio . Wa d o es a e ha a te ised oth as
architectural spaces for organizing, classifying and managing a diversity of clothing types and
related accessories as they relate to the construction of the dressed self, and the totality of a
o a s lothi g olle tio . The field o k sa ple i luded a o e ted pa ti ipa ts
and therefore enabled an investigation of the relationships women have with their clothing
via friendship and family groups.5

What does the user-centred account such as these ethnographies represent for the
designer? It probably represents a tidal wave of subjective variability in regards to possible
i te p etatio s of lothi g a d appli atio s of desig solutio s. The p o lem for design is
that no matter how deep this kind observation of actual use and how well this knowledge is
i o po ated i to the desig p o ess, the e ill al a s e a li itatio to a desig e s a ilit
to design for actual use and user experiences. Even if a projected or potential use scenario is
carefully considered, a designer will never be in a position to fully anticipate actual use, nor
be able to fully resolve the potential variability of use and possible reinterpretations that
users devise. Another way of saying this is that there is an incommensurability between
actual use and the intended use that governs the design, they are epistemologically different
e tities. As su h, a use p ofile a o l e p edi ti e, a d it is the i agi a use s of this
intended use that we refer to when we say user- e t ed desig ‘edst ö . It is a
diffi ult p a ti e fo desig he t i g to adjust o efi e a o je t to fit pe ei ed eeds
and requirements of the imaginary user. Redström tells us that the answer given by user-
centred design advocates is that while there are no real users until a design is delivered to
them, there are potential users or people who will become users frequently factored into
participatory design methods. However, these are still of the order of predicted users, and
therefore have hypothetical characteristics.

Fashion design is one of the more literal examples of this problem in the sense that
designing for use involves the construction of something that is like a shell or container for
the body in order for it to have experiences – part of these could be called experiences as a
user of clothing. New clothing is both a shell ready for wearing to inscribe experiences into
its cloth, and it is also a container in the sense of basic equipment in order to do other
things, have other experiences. Faced with this potential for variability of subjective
experience, the fashion designer works with classifications that abstract and simplify the
user into standardized sizes, silhouettes, ages and life-style contexts. From a macro-view
perspective, fashion designers effect regular value change of these standardized forms by
designing a new variation and a cohering season collection (where the items make sense in

5
Her participants are 27 women from a cross-section of cultural backgrounds, ranging in age from 19
to their late 50s, living in the urban centres of Nottingham and London, and the number of wardrobes
owned by women varied from 1 to 7.

105
relation to each other) – by out odi g last ea s fashio as so last ea a d offe i g a
new solution.6

I have outlined a progression in various design professions where the user is becoming the
subject of design in what is called user-centred design, and speculate what this might mean
in terms of fashion design by following the lead to ethnography as an effort to get to know
the user. However, the conceptual difficulties in knowing the user have been acknowledged
as part of design debate about user-centred design and I have sketched out fashio desig s
response to this problem of variable subjectivity. In sum, the user is shaped by the user-
construction that is in play via practices that the designer anticipates and the objects they
include.

Counter-rhythms and lifetimes: Participatory methods in sustainable fashion design

Fletcher (2011) has argued that it is important to research user-crafts, the value-creating
practices of users as they repair, adapt, re-value items in their wardrobes thus extending the
life of garments. It is in these practices that Fletcher finds an impetus and foundation for
sustainable change in the connections between already existing real experience, user
inventiveness, resourcefulness and sustainability. To research this resourcefulness is to
counter the tendencies of fast fashion to present finished garments, seemingly closed to
odifi atio a d additio hi h, e te sio , lose-out eati e i put o alte atio ia
what is a passive, de-skilling approach to the user (Fletcher 2008, p. 187). In that they show
a consideration of the user, a range of projects with which Fletcher is connected model an
approach to participatory design in fashion as they gather information about use practices
and argue for the importance of feeding this back into the design process – these are 5ways,
Lifetimes, and Local Wisdoms. I fa t, she has a gued epeatedl that use atte s i a
se ses; o e ke se se is that the i pa ts of the use phase a e o side a le i a p odu t s
lifecycle, citing studies that evidence the care phase of the garment to have more impact on
resources and energy use than its production and manufacture (2008, p.76; 2011). Her
p oje t Lo al Wisdo s i ol es olle ti g the isdo s of ea e s/use s i the fo of
stories of resourcefulness, thrift, emotional connection, novel ways of wearing and
alte ati es to the so ial o ; she alls these e pe ie e-based extant practices that, by
desig o default, also suppo t sustai a ilit o je ti es Flet he , p. . Moti ated
by thrift, memory or emotional connection, rather than always by desire for environmental
and social improvement, the local wisdoms provide, for Fletcher, an opportunity to learn
from these garment-related activities. She sees that feedback of this information into the
desig p o ess is a gi e : The p o ess of feedi g a k use i o atio s a d i p o isatio s
to desig e s i es apa l i flue es the e olutio of fashio p a ti e o e ti e a d spa e.
(171) In these words, Fletcher not only assumes this feedback process is in place, but also
that the information about users has influenced the evolution of fashion practice.

Kate Flet he a d Mathilda Tha s Lifetimes project is an important precedent for

investigating temporal patterns of use and advocating that this information become the
basis for generating future design scenarios that have potential as points of intervention in
the fashion system (Fletcher 2008, p.175-182 ). In Lifetimes, variability in use patterns locate
important counter- h th s to the fashio s ste s 6 weekly cycles of re-stocking retail

6
Alternatively, haute couture offers a variant on the mass-production model by
offering customized, tailor made design that might be thought of as user-centred.

106
outlets. By connecting up a system that powerfully enacts a massive systematized material
displa e e t ia i pe ati es of apid i agi ati e ha ge ith e e da p a ti es, this
project emphasizes that the attachments that the wearer feels towards clothes and by
e te sio ga e t li es a e i flue ed so io-cultural factors like changing taste and
images of fashionability, personal relationships and memories, as well as technical and
material issues of fit or fabric performance (Fletcher 2008, 163). The significance of this
project is that it illuminates the use phase as a vital stage of a product lifecycle where the
use a i flue e oth a p odu t s alue a d dete i e its lifeti e s .7 A product lifespan –
its lifetime – is ot o l the easu e of a p odu t s ate ial o fu tio al se i e, it is a le
of a ui g a d sheddi g alue, a d a life s-end can be determined by fading value. Users
reconfigure the values instilled in production by incorporating pieces into their own rhythms
of use and we can see where these lives are explicitly extended when items are rediscovered
and re-incorporated into wearing practices, after periods of dormancy, or gifted to another
wearer. In the Lifetimes project, use patterns were studied via participant diaries and
a d o e i e to ies a d patte s of use a e sho to esult i sho t se i e li es
te po a atta h e ts a d lo g se i e li es e du i g atta h e ts . Flet he & Tha s
identification of different speeds and rhyth s of use is o fi ed Wood a d s
findings that women sustain long relationships with their clothes that can be out of sync
with the regular updates proposed by industry, and that the practices of both creatively
modifying clothing, re-discovering pieces for possible re-use, and sharing products with
others are significant in extending lives.8 The research objective of Lifetimes was to generate
future design scenarios by proposing low impact garment types that could respond to

7
Life le a al sis easu es the e i o e tal i pa ts of a p odu t s life stages f o desig ,
manufacture, distribution, use, through to disposal (or sometimes called cradle-to-grave analysis). It
has been argued that there is another stage after disposal that aims for one of two closed-loops in
redirecting material back to either nature or manufacture (called a cradle-to-cradle lifecycle)
(Fletcher, 2008). The value of a lifecycle approach is that it allows us to see the different parts of a
p odu t s life as i te -connected, not only in terms of stages of material stewardship, but the effects
that the material, industrial, economic and social systems have on each other (Heiskanen 2001).
A othe a of thi ki g a out a stage afte disposal fo ga e ts is i te s of su se ue t li es of
re-use, thus deferring disposal and extending the use phase. As a measure of the average length of
use phase a fi st le before subsequent lives are considered), Fletcher cites research from the
Netherlands in Sustainable Fashion and Textiles (2008, p75) that found the average piece of clothing
sta s i a Dut h pe so s a d o e fo ea s o ths, is o the od fo days during this time
and is worn for between 2.4 and 3.1 days between washings.
8
Woodward (2007) observes the long relationships that many of these women have
with their clothing, this enduring relationship evidenced in the tendency to hold
onto clothes that are no longer or only occasionally worn. Between 12.2% and 40%
of participant wardrobes were classified as inactive, and women observed that
ha i g lothi g that is o lo ge o gi es the a se se of ha i g a past. Wo e s
relationship with already owned clothes and the competences of taste and acquired
preferences developed over time effect how the majority of women interact with
fashion. Their selection of clothing is rarely prescribed by the adoption of complete
fashion looks p e-determined from the suppl hai , a d the pa e of a
wardrobes were rarely updated in sync to the 6 weekly cycles by which shops
replenish their stock. Woodward notes how most women dressed fashionably in
relationship to the clothing they already owned, sometimes modifying old pieces or
wearing them differently, and the tensions that arose when having to reconcile their
long-term clothing relationships with the shifting world of fashion was a widespread
concern.
107
requirements for short and long wearing lifetimes, as well as capture experiences of
o asio , f ie dship, he isha ilit , o e tio , a d he e the e pe ie e of the a tefa t
becomes a reason for further attachment and considered use. The project promotes wider
changes in patterns of use by amplifying existing practices that sustain longer garment
relationships like maintenance, repair, alteration, modification and product sharing and
build new relationships with clothes.

Flet he & Tha s Lifetimes project, informed by participant research methods, actively
constructs a user to have multiple concerns and practices; the user can be variously a
fashion conscious consumer who weighs up environmental impacts, and interested in
aspects of comfort, care/maintenance (such as laundering, repair), expressions of
fashionability and product durability. In other projects, like 5ways the user is positioned as a
co-producer or co-designer able to make, repair and modify clothing, as well as a change-
practitioner in the sense of exploring non-laundering as an option (eg. no-wash jumper).
One of the key ideas behind developing several scenarios in Lifetimes was to find examples
of long-lasting clothes that promote material and emotional durability, but also find
alternative forms of engagement with products to express fashionability, change and
connection. The four scenarios generated for future design are a party top, basic underwear,
utility trousers and a plain coat. In contrast to the long-life plain coat which specifies care
practices to suppo t e du a e, the ult a-disposa le pa t top is o ei ed as a o e-hit
wonder – a quick fashion hit - and could be made of either biodegradable or recyclable
materials that can be recovered by the manufacturer. Alternatively, an image of fashion
ha ge ould e a essed th ough e tal o sha i g se i es of fashio a le o o asio -
based items, and subsequent lives can be created through such re-use and establishing
p odu t sha i g s ste s. Wood a d s o se atio of the e ha ge of lothes
amongst a group of women in a shared house enables us to see the circumstances where
clothing can be shared in such a way that it supports connections and generates friendships.
In the 5-ways project, Fletcher and Earley propose an updatable T-shirt that can be adapted
the use a d is a appli atio of Flet he s ie that pa ti ipato desig e o e ts
maker and user, commonly by reframing the user as maker (Fletcher and Earley, 2002-3).
One of the challenges for designers is how to leverage, resource and plan for the
esou eful ess of use s a d fa ilitate the de elop e t of skills that a t e essa il e
assumed. It is necessary to think about servicing these skills. In several projects, Fletcher
attempts to educate the user by inserting them into care or laundering practices that
encourage reflection on materials and resource impacts, and she acknowledges the need to
support the end user in negotiating the complexity of information about materials and
assessing the weight of their decisions in regards to impacts during a product lifecycle.

The e is little detail i Flet he s a ou t of Lifetimes about the methods and framing used
to feedback information to the design brief. Her scenarios allow us to identify tension
around the figure of the use ith ultiple o see i gl o fli ti g eeds as so eo e ho
may want to be able to express fashionability but also respond to clothes that call out for
sustai ed atte tio , affe tio a d a e. Afte ide tif i g these te sio s as diffe e t eeds ,
different design solutions are posed that respond to scenarios. As well, in that her
consideration of a user is a hypothetical user in response to proposed scenarios, the
connection between hypothetical users and actual users remains untested. Taking the
compostable underwear as an example, as there is no testing on actual users it is possible to
envisage that there may be tension in the application of these scenarios for wearers who
understand biodegradability to mean diminished quality and performance in underwear. In
contrast, the biodegradable top is not too much of a stretch from the throwaway top which
also has to disappear after a few uses, and suggests it could be readily incorporated into fast

108
practices, and yet make a difference in terms of material waste. The point here is that the
user is profiled as a construct or rhetorical device in scenario planning to negotiate the
potential emergent and changing relations between garments and people, prior to testing.

Anne Theresia Wanders, in Slow Fashion, e hoes Flet he s positio i a gui g fo

pa ti ipato ethods that i g the desig e lose to the use . “he a gues desig e s a
lend a person more than one identity – instead of limiting themselves by designing clothing
for an artificial, fixed target g oup o ta get o su e Wa de s . I additio , G ilt &
Rissanen (2011) include case studies that draw conclusions for sustainable design and
practice from analysis of the use phase. A project highlighted in a case-study by Dombek-
Leith and Loker outlines principles to inform sustainable clothing scenario planning that are
now found in related studies. These recommend scaling down wardrobes so that people
own fewer, high quality clothes; sharing a pool of clothing with others; leasing clothes from
a service; and the already well-established practice of purchasing second hand clothing
(Bras-Klapwijk and Knot, 2001 cited in Gwilt and Rissanen, 112). Included in this paper is a
ta le titled a ta o o of use that a al ses a se ies of p oje ts that i vestigate or seek to
change clothing practices by constructing a profile for the clothing and fashion user (see Fig.
. I spi ed Ba thes s Fashion System and its elephantine undertaking, it is a bit awkward
in its attempt to classify aspects of in situ practices that are often multifarious, conjoined or
mutually effecting.

These case-studies allow us to ask how information about the user, from say social research,
might be framed to inform the design process. Fletcher provides an argument for
participatory methods and defines this as the user being involved in designing processes, but
there is little information about how participant insights from diaries are framed (sorted,
coded, prioritized) to inform design scenario planning. By juxtaposing the ethnographic
stud of ea i g like Wood a d s ith Flet he a d Wa de s a gu e ts that pa ti ipato
methods are important for design, it enables us to ask questions about how practice-
oriented approaches can inform design and be used to confirm constructive directions for
future design practice.9 Figure 2. represents a table of findings from ethnographies that
could inform design. Particular observations seem to suggest themselves as important for
sustainable design as follows, and suggest the value of social research for designers:
- Information about how items of clothing wear (wear down, wear in and wear out)
and their capacity to yield evidence that assists knowledge of materials and
spe ifi atio . Wood a d s stud sho s ho pa ti ula ate ials e ei e attention
either through the way they sustain the interest of the wearer, or require specific
maintenance or care. There are opportunities to observe evidence that is connected
to practices and consider how best to respond.
- Observations of clothing in situ allow for the tracking of potential triggers to value-
shifts and transformations, and where relationships form and wane. If it is possible
for an object to shift in value from new mini skirt to a celebrated item for exchange
a o gst f ie ds, o a o e offi suit ja ket to e o e a eified a esso to
confidence, in the attire of a mother adjusting to non-paid work-life (Woodward
2007), then the circumstances underpinning these transformations where the
experienced object is valued may well be worth expanding upon. The goal may not

9
It would be true to say that there is uncertainty in the design profession around how and when (and
by who) social research should inform design (Shove 2007,p130). Recognising the insight of social
esea h fo desig s futu e di e tio , Rissanen (2011) has argued that the detailed catalogue of
garment care and t a sfo atio as e ide ed i “t asse s Waste and Want, represent crucial
information for fashion designers if they want to address repair (p. 132).

109
 be for clothes to simply last forever, but rather be supported in having engaging
low-impact lives and relationships as re-valued entity.
- The detailed noticing of material objects is solicited by the ethnographic approach
which is part of the tacit knowledges of the wearer. As the designer converts the
tacit into expert knowledges, there is opportunity to fine-tune the skills of diagnosis
and specification that the designer yields in making selections.

Are ethnographic methods such as diaries and wardrobe inventories helpful for designers to
apply to their research in order to engage the wearer? How should we be teaching students
to frame qualitative and quantitative findings to inform design process? Are the generations
of scenarios for developing a brief the best way forward? How should the information be
shaped to develop briefs? Does this suggest collaboration between sociologists and
designers? What are the questions we need to ask in researching users?

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Rotterdam: 010 Publishers.
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42.
Wanders, A. T. (2009). Slow Fashion. Zurich: Verlag Niggli.
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2012.

Woodward, S. (2007). Why Women Wear What They Wear. Oxford: Berg.

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Project Location Methods to Profile of user Practices Outcomes/Implications
investigate users
5 ways Bricklane, diaries • Creative agent or co-producer - Not laundering – eg. no wash - User is a co-designer
Fletcher/Earley UK • Material & utilitarian needs jumper. - User considers laundering practices &
2002-3 (comfort, warmth). - updatable garments that invite is open to change
• Symbolic needs (eg. fashionability, modification - T-Shirt. - site-specific outcomes that respond
occasion) - connections with people – eg. locally.
caress dress - local materials and re-use of off-
- a market shopper (leather scraps cuts/waste.
bag). - materials recycled as in Nine Lives.
- creative re-use of materials - eg. - re-valuing ageing goods as signs of
Nine Lives experience.
- ageing and patina celebrated as a
sign of experience eg. Nine Lives
project.
Lifetimes UK diaries, • Fashion conscious consumer - monitoring resource - Design scenarios for different speeds
Fletcher/Tham wardrobe • Reflective launderer and maintainer consumption/reductions (eg. and low impact production and care:
inventories. of clothes laundering profiles, disposal) Party top (short)– recyclable or
• Symbolic needs (fashionability) - fast rhythms – fashio hits a d biodegradable or vintage (rented or
Data gathered • Material needs (comfort, warmth) short-term pieces. shared).
about resource - slow rhythms – long Underwear (Long) – low impact
consumption relationships/durable products production & laundering.
(Assessments of Coat (long) – enduring, virgin materials
production, use Utility trousers (long)– durable
and disposal materials (new), pre-worn (second-
phases). hand)
(Short service life and value)
(Long service life and value)
Local Wisdoms, UK, Oslo, garment • Creative agent or co-producer - Garment modification - Resource efficiencies arising from
2009-12 Dublin observation, • Social agent – product sharing - Novel ways of wearing observations of use
Fletcher personal narrative, - Laundering less and reducing - Product sharing opportunities
photographic energy & resource use (both emotional durability and sociality
documentation - memory and biography enriched through product sharing).

Fashion Futures UK In-depth Scenarios include profiles for - reduced consumption of new 4 design scenarios to inspire students

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2025 Interviews/ • consumer garments due to expense. and industry to design for a sustainable
Forum for the peer reviews with • designer - resourcefulness is taught – ie. future
Future. industry, unions, • creative agent or user-maker making and mending. 1. Slow is beautiful.
NGOs, academics • social agent – product sharing - reduced laundering practices due A world of political collaboration and
• re-seller to community laundries & water global trade where slow and
rations. sustainable is fashionable.
- i fo ed use s via tagging of 2. Community Couture.
garments to show provenance, and Where resource crises constrain
also industry accountability for consumption in a world focused on
materials. local communities.
- i tual te h olog used to t o 3. Techno-chic.
clothes in virtual mirrors. Where high-tech systems deliver for
- invites trends to be generated by the speed-obsessed global shopper.
users via Crowd sourcing. 4. Patchwork planet.
- techno-mimicry used to transform A world of fast consumption in global
clothes from a blank canvas. cultural blocs.
Alex Martin, US Auto-ethnography • consumer dramatically reducing - cutting and sewing the dress. - a resistance to fast fashion as a model
Little Brown Dress, & performance, their consumption levels - laundering the dress of simplified, slow use-practice.
2005-6 assisted by • creative agent – a maker and - replacing buttons and fixing seams - Reveals the special engagement of
blogging and repairer observation and care required to
photodocument- • a wearer of one dress for a year. respond to and support the dresses
ation. durability.

Rissanen, Example Description • a long-term user - indefinite use-phase as the Design strategies that consider:
2011 from Japan of fishe a s • a repairer garments are modified over and - Incorporating visible repair into a
coats from Awaji over. ga e t s appea a e. E a i g the
Island, Japan, early - the aesthetic appearance of disturbance of the garment by stains,
20th century. garment changes yet the utility blemishes and repair.
remains essentially the same

Fig. 1 Taxonomy of user profiles in fashion projects

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Gregson/Beale, UK Observation • o su e Organise wardrobe Clothing circulation, flow of clothing material
Wardro e atters • a manager/sorter of clothes Sort through and out of the house.
2004 Divestment rituals - insight into classifying and sorting clothes
Rid fo o i go aste, gift, ha it et .
Dispose
Woodward London Diary, • wearer - Dressing as assemblage (balance - Engagement with fashion is at least in part
Wh o e ea Nottingham Interview, • wardrobe user/manager between internal and external forces) in relation to the clothing women already
hat the ea . Observation. • consumer/Buyer (to lesser extent) - dressing as biography own.
- wardrobe organization - Service opportunities:
27 women - exchange/garment sharing Patterns of use/re-use (items re-introduced)
- garment modification Product sharing
- storage/putting away/rediscovery Garment refashioning

Gregson & Crewe, - Consumer - second-hand purchasing (markets, - re-use and modification practices reinvest
Second Hand cultures • re-user of second-hand goods charity shops, ebay, exchange) garment with new meaning.
2003 • creative practitioner or co-producer - modification, alteration of already used
clothes.
Banim & Guy, UK Personal account • wearer - storing clothes - Captu es o e s li ed e pe ie e a d
Why do Women Keep What lothes • wardrobe user/manager - sorting clothes relationships with clothes.
Clothes They No ea to e? ; - divestment rituals of distancing clothes - Wo e s ide tit is sho to e ol e i
Longer Wear? 2001. week diary; semi- that were mistakes. relation to their clothes collections, and
structured - clothing used to construct self-identity shows opportunity for both fluidity and
interviews. and images of the self, and kept clothing testing of particular images of who they
15 women expresses ambivalences about past, are/want to be.
present and future identities. - Long relationships with clothes that are kept
but not worn –eg. clothes have lives beyond
being worn.
- The biographical value and the cost of
purchase of clothes effect decisions to keep
clothes.
- Challenges the idea that keeping clothes is a
fall out of e essi e o addi ti e
consumption

Fig. 2 taxonomy of user profiles in ethnography

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