Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s–1950s

2021 ◽  
Vol 8 (2) ◽  
pp. 175-194 ◽  
Author(s):  
Bethan Bide
Keyword(s):  
Design Education ◽  
Economic Status ◽  
Creative Industries ◽  
Fashion Industry ◽  
Cultural Perceptions ◽  
Art And Design ◽  
Textile Design ◽  
Technical Schools ◽  
Working Class Students ◽  
Vocational Courses

Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods – such as illustration – rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.

scholarly journals CREATIVE CONCEPTS OF FOLK COSTUME IN REGIONAL SCHOOLS OF UKRAINE

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
Y. Yurchyshyn
Keyword(s):  
Art Education ◽  
Design Education ◽  
Historical Context ◽  
Deep Penetration ◽  
Educational Design ◽  
Creative Processes ◽  
Art And Design ◽  
Textile Design ◽  
Clothing Design ◽  
National University

The author of the article highlights and gives analysis of activities of the main Regional Art Schools, which study and use the folk costume in modern creative work, in clothing design, in particular. She considers the conceptual foundations of the formation of the content of educational programs, based on deep penetration into the tradition and ability to develop and apply it in creative interpretation. The author traces the way in which a constant renewal and improvement of the educational and creative processes and the main academic foundations of art education take place, considering the development of relevant creative and methodological issues in contemporary rapidly changing socio-cultural space.The analysis of the activities of the leading Ukrainian higher educational institutions, which systematically use folk art in educational design, is carried out: Lviv National Academy of Arts, Kyiv National University of Technology and Design and Kosiv Institute of Applied and Decorative Arts of Lviv National Academy of Arts. The concepts of the clothing design departments of these Schools are assessed in historical context. The author singles out the personalities of the leading teachers, who introduce stylistics of the use of folk cut, decoration, colour and decor in the course and diploma clothing design in a traditional way, close to the ethnographic sample.The ways of the development of design education are proposed, aimed at a comprehensive scientific understanding and creative conceptualization of the traditions of national culture, professional art and design, methodological extension of specialized art education in Ukraine, their rapprochement with the topical issues of the world culture and the latest trends in modern clothing design.Key words. Design education, Regional Art School, interpretation, tradition, folk costume, fashion and textile design.

scholarly journals The learningscape of a virtual design atelier

2012 ◽  
Vol 2 (3) ◽  
Author(s):  
Jennefer Hart ◽  
Theo Zamenopoulos ◽  
Steve Garner
Keyword(s):  
Cultural History ◽  
Design Education ◽  
Teaching And Learning ◽  
Creative Industries ◽  
Virtual Design ◽  
Art And Design ◽  
Face To Face ◽  
Large Numbers ◽  
E Learning ◽  
Learning Platforms

The development of e-learning platforms is fundamentally changing the nature of education across all disciplines. Art and design education has traditionally taken place within a studio environment and its model of teaching and learning has been informed by the ‘atelier’ approach which has a distinctive educational and cultural history. Signifi cant pressures arise today in undergraduate art and design education and partly these drive the need to establish an effective and viable modern studio experience. Not only must any new studio support student learning of practice and principles, for example, by allowing students to work alongside experts, it must foster the community and culture of the creative industries. As if this wasn’t diffi cult enough, any innovation in teaching and learning must not incur the huge costs and resource demands of our current models of art and design education and it must be scalable to provide a stimulating experience for large numbers of students with diverse backgrounds, abilities and needs. This paper reports on a suite of studies that were carried out as part of a JISCfunded project titled ATELIER-D. The aim of the project was to create an online virtual design learning environment that replicates and improves the features of traditional face-to-face studio education. The paper makes reference to new curricula at the Open University, particularly a new FHEQ level 4 online design course fi rst presented in February 2010 to 350 students.

scholarly journals Rethinking Art, Design, and Cultural History for the Indonesian Design Education and Creative Economy

Humaniora ◽  
2019 ◽  
Vol 10 (2) ◽  
pp. 135
Author(s):  
Michael Nathaniel Kurniawan
Keyword(s):  
Cultural Heritage ◽  
Cultural Values ◽  
Cultural History ◽  
Design Education ◽  
Industrial Revolution ◽  
Creative Industries ◽  
Creative Economy ◽  
Extensive Literature ◽  
Art And Design ◽  
Art Design

This research used extensive literature reviews of the history of Design HE, Art and Design History, Creative and Cultural Industries, Cultural Heritage Studies, and Design Studies to rethink the history, concepts, and common teaching practices of Art, Design, and Cultural History within the Design HE curriculum, especially for the Visual Communication Design Undergraduate program as it contributed to almost all of the creative industries’ sub-sectors. It is discovered that since the Industrial Revolution, the Design HE, the art and cultural museum, and the economy actually shares a strong correlation that has long been rejected and mostly forgotten. Exploring this correlation helps to determine the role of cultural heritage in the creative economy and to position Indonesian cultural heritage as central in the design curriculum. On this account, Art, Design, and Cultural History subject(s) should encourage designers to create new designs as active efforts to preserve past cultural values that also function as creative and critical interventions towards the global creative economy phenomenon.

Torn between the Old and New World of Work: Insights into the Modernised Semi-Profession of the Fashion IndustryDate submitted: December 31, 2019Date accepted after double-blind review: February 1, 2021

2021 ◽  
Vol 32 (3) ◽  
pp. 244-265
Author(s):  
Alexandra Manske
Keyword(s):  
Role Model ◽  
New World ◽  
Creative Industries ◽  
Gender Inequalities ◽  
Fashion Industry ◽  
Double Blind ◽  
Blind Review ◽  
Training Structures ◽  
Cultural And Creative Industries ◽  
Low Pay

This paper explores how persistent gender inequalities of the old world of work are amplified by the new world of work. Focusing on the fashion industry of Berlin, the article offers insight into a female-dominated field of labour as a particular field of labour of the cultural and creative industries (CCI). The CCI is regarded as a role model for new work. However, they entail deep gender inequalities in terms of segregation, low status and low pay. The paper addresses the question of how these gendered inequalities in the fashion industry are intertwined with its professional mechanisms and training structures. Based on a qualitative study, I argue that the fashion industry is a modernised semi-profession, which has been undergoing a market-driven professionalisation. However, this new pathway into the fashion industry fails to fully professionalise that industry. On contrary, it erects new occupational barriers into the field of labour that help establish high qualified and low qualified fashion work that also aids in polarising the still mostly female workforce in terms of status and rewards. Overall, it should become clear that the fashion industry is torn between the old and new world of work which helps to maintain or even reinforce traditional gender inequalities.

scholarly journals Colour Studies: Clarification and Alpha-Numeric Adaptation of Notation Systems for Artists and Designers

1970 ◽  
Vol 4 (2) ◽  
pp. 121-148
Author(s):  
ZS Ebigbagha
Keyword(s):  
Subject Matter ◽  
Design Education ◽  
Qualitative Approach ◽  
Pivotal Role ◽  
Art And Design ◽  
Wide Range ◽  
The Subject ◽  
Effective Use ◽  
Creative Construction

Colour studies have generated much confusion in art and design education, particularly among students of the discipline in Nigeria. This is due to the complexity of the subject matter itself, wide-range of available materials and a variety of concepts developed in its multi-disciplinarity that is not kept distinct. Therefore, this paper utilizes a qualitative approach that employs the critical, historical, and analytic examination to provide clarification on the constructive and expressive aspects of colour studies. The paper introduces the reader to the pivotal role of colour and its multi-disciplinary interest. Also, it adequately clarifies paradigms and theories in the physical, psychophysical and psychological domains with particular emphasis on areas of practical value to art and design. Moreover, it considers the numeric adaptation of the colour wheel to a set of numbers for harmonic relationship. And it ends with the need for artists and designers to comprehensively grasp the contextual behaviour of colour and develop colour originality through creative construction and effective use in order to successfully express themselves in colour.

scholarly journals EVALUATION OF THE FASHION DRAWING (ILLUSTRATION) LESSON TEACHING PROGRAM UNDER THE LIGHT OF LECTURERS’ AND STUDENTS’ OPINIONS

2021 ◽  
Vol 9 (60) ◽  
Keyword(s):  
Art Education ◽  
Design Education ◽  
Formal Education ◽  
Fashion Design ◽  
Two Dimensional ◽  
Examination System ◽  
Art And Design ◽  
Face To Face ◽  
Dimensional Plane ◽  
Figure Drawing

While clothing is produced and consumed rapidly, it strives to create appropriate forms and to create appropriate identities by giving correct messages; therefore, it is one of the most important fields requiring art and design education. The fashion design student, who forms the infrastructure with basic art education and figure drawing, not only transfers the imagination to the two-dimensional plane with the fashion drawing lesson but also transfers it to the two-dimensional plane; at the same time, he takes art and design education, which is aesthetic education, and feeds his visual vision and mind. In this research, the Fashion Drawing Lesson has been examined in detail in terms of determining the place, position, importance, processing and content of the Fashion Drawing Lesson in the official fashion design curriculum and a comprehensive literature search has been conducted; then the matter has been tried to be examined thanks to a link has been established between education, fashion, art and design disciplines. The course syllabus in Turkey and some of fashion design course programs in the world were examined; the experts providing fashion formal education and the students who received fashion formal education were interviewed face-to-face to obtain information first-hand. First of all, the study started by determining the fashion design undergraduate programs in the OSYM (Assessment Selection and Placement Center) placement guide and examining the course hours, course times and course contents of the fashion formal courses in these programs. The researcher visited the designated universities for the purpose of on-site observation and interview, and conducted semi-structured interview questions and face-to-face interviews with experts and students and recorded them. The transcribed interviews were analyzed using content analysis method and the findings were interpreted within the framework of the research questions. The findings were interpreted and discussed, and after the results were written, suggestions about the study were included. As a result, it has been determined that the admission of students to the fashion design program should be made with the combination of central examination system and talent exam suitable for fashion design education. It was seen that the time granted for the program was not sufficient in mean of implementation of the fashion drawing lessons properly in the fashion design education programs. Keywords: Fashion drawing, fashion illustration, design education, fashion design education, art education

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