Developing a discourse in fashion design : what is research for fashion design?
- Smal, Desiree, Lavelle, Carol
- Authors: Smal, Desiree , Lavelle, Carol
- Date: 2011
- Subjects: Fashion - Study and teaching , Fashion design - Study and teaching
- Type: Article
- Identifier: http://ujcontent.uj.ac.za8080/10210/376596 , uj:6072 , http://hdl.handle.net/10210/10676
- Description: The concept of fashion has attracted a great deal of interest from a variety of academic disciplines such as history, culture, anthropology, sociology, psychology and semiotics to name a few. This has often resulted in tension between different approaches. At a conference held in England in 2009 concerning the future of fashion studies, a number of fashion scholars such Rebecca Arnold, Christopher Breward, Professor Stella Bruzzi and many others, deliberated on the methodologies and research agendas that have emerged in the growing research area of fashion studies. It was noted that although fashion studies has gained momentum over the last decade as an interdisciplinary field of research, fashion as an academic subject has remained weak. Research activities in the field of fashion studies include the contribution of authors from other fields of study that preserve their own disciplinary identities (Riello & McNeil 2010:7). In order to develop the area of fashion studies as an interdisciplinary field of study that is acknowledge by the academy, McNeil (2010) notes that key areas of concern need to be addressed. These areas include the development of research that combines theory and history with the development of material products resulting in a methodological richness. This poses a challenge for the development of fashion studies as a research area as students are required to have practical experience in the skills required in making a product as well as an understanding of historical and theoretical practices that encompass fashion as a broad and complex social phenomenon. In order to achieve this, an opportunity arises for fashion design education in South Africa to engage in a discourse that promotes research that emphasises issues of materiality combined with theoretical and historical constructs. Recent research activity in the department on masters and PhD level has emphasised the above. This paper is a discussion document by two lecturers from the department of Fashion Design, Faculty of Art, Design and Architecture at the University of Johannesburg, on the future and development of fashion design studies and suggests that design thinking provides an important basis on which further discussions on fashion design education may be pursued.
- Full Text:
- Authors: Smal, Desiree , Lavelle, Carol
- Date: 2011
- Subjects: Fashion - Study and teaching , Fashion design - Study and teaching
- Type: Article
- Identifier: http://ujcontent.uj.ac.za8080/10210/376596 , uj:6072 , http://hdl.handle.net/10210/10676
- Description: The concept of fashion has attracted a great deal of interest from a variety of academic disciplines such as history, culture, anthropology, sociology, psychology and semiotics to name a few. This has often resulted in tension between different approaches. At a conference held in England in 2009 concerning the future of fashion studies, a number of fashion scholars such Rebecca Arnold, Christopher Breward, Professor Stella Bruzzi and many others, deliberated on the methodologies and research agendas that have emerged in the growing research area of fashion studies. It was noted that although fashion studies has gained momentum over the last decade as an interdisciplinary field of research, fashion as an academic subject has remained weak. Research activities in the field of fashion studies include the contribution of authors from other fields of study that preserve their own disciplinary identities (Riello & McNeil 2010:7). In order to develop the area of fashion studies as an interdisciplinary field of study that is acknowledge by the academy, McNeil (2010) notes that key areas of concern need to be addressed. These areas include the development of research that combines theory and history with the development of material products resulting in a methodological richness. This poses a challenge for the development of fashion studies as a research area as students are required to have practical experience in the skills required in making a product as well as an understanding of historical and theoretical practices that encompass fashion as a broad and complex social phenomenon. In order to achieve this, an opportunity arises for fashion design education in South Africa to engage in a discourse that promotes research that emphasises issues of materiality combined with theoretical and historical constructs. Recent research activity in the department on masters and PhD level has emphasised the above. This paper is a discussion document by two lecturers from the department of Fashion Design, Faculty of Art, Design and Architecture at the University of Johannesburg, on the future and development of fashion design studies and suggests that design thinking provides an important basis on which further discussions on fashion design education may be pursued.
- Full Text:
Re-thinking the approach to environmentally sustainable fashion design praxis
- Authors: Smal, Desiree
- Date: 2017
- Subjects: Fashion design praxis , Personal praxis
- Language: English
- Type: Conference proceedings
- Identifier: http://hdl.handle.net/10210/260200 , uj:27392 , Citation: Smal, D. 2017. Re-thinking the approach to environmentally sustainable fashion design praxis.
- Description: Abstract: Please refer to full text to view abstract
- Full Text: false
- Authors: Smal, Desiree
- Date: 2017
- Subjects: Fashion design praxis , Personal praxis
- Language: English
- Type: Conference proceedings
- Identifier: http://hdl.handle.net/10210/260200 , uj:27392 , Citation: Smal, D. 2017. Re-thinking the approach to environmentally sustainable fashion design praxis.
- Description: Abstract: Please refer to full text to view abstract
- Full Text: false
The female innovation-generation consumer’s evaluation of traditional and virtual displays in South African clothing retail environments
- Van Heerden, Salomien, Tselepis, Thea J., Smal, Desiree
- Authors: Van Heerden, Salomien , Tselepis, Thea J. , Smal, Desiree
- Date: 2016
- Subjects: Clothing trade - South Africa , Virtual displays - South Africa , Retail trade - South Africa
- Language: English
- Type: Article
- Identifier: http://hdl.handle.net/10210/217564 , uj:21655 , Citation: Van Heerden, S., Tselepis, T.J. & Smal, D. 2016. The female innovation-generation consumer’s evaluation of traditional and virtual displays in South African clothing retail environments.
- Description: Abstract: Using virtual displays in South African clothing retail outlets could be a marketing communication strategy that attracted consumers to products or the actual stores. This marketing communication influences consumers’ purchase decisions and consequently enhances the competitiveness of the clothing retailer in a dynamic fashion industry. Thus the use of virtual displays is increasing. Implementing digital and virtual display screens in the visual displays of South African physical retail outlets could appeal to particular consumer segments. The innovation-generation consumer segment is the largest and foremost global consumer segment to date, with massive buying power, and this group’s affiliation for the virtual world should not be ignored, as it may prove to be useful when applying omni-channel retailing that stimulates a certain consumer experience. The aim of this paper is, therefore, to report on the evaluation of the female innovation-generation consumer with regard to a static traditional visual display or a virtual representation of the display. Two stimuli (displays) were presented to 653 female respondents from the innovation-generation consumer in Johannesburg (Gauteng). One stimulus was a static traditional visual display and the other a virtual representation thereof which included movement and music. The findings in this paper indicate that although the respondents understood the message of the virtual display and could identify with the symbolic meaning thereof, there is also evidence that the respondents’ emotions were evoked by both the stimuli. Nevertheless, it seems that the traditional visual display still seemed to be preferred with regard to the emotions that it evoked, especially regarding pleasure. The paper concludes with recommendations on the use of virtual displays to support South African clothing retailers.
- Full Text:
- Authors: Van Heerden, Salomien , Tselepis, Thea J. , Smal, Desiree
- Date: 2016
- Subjects: Clothing trade - South Africa , Virtual displays - South Africa , Retail trade - South Africa
- Language: English
- Type: Article
- Identifier: http://hdl.handle.net/10210/217564 , uj:21655 , Citation: Van Heerden, S., Tselepis, T.J. & Smal, D. 2016. The female innovation-generation consumer’s evaluation of traditional and virtual displays in South African clothing retail environments.
- Description: Abstract: Using virtual displays in South African clothing retail outlets could be a marketing communication strategy that attracted consumers to products or the actual stores. This marketing communication influences consumers’ purchase decisions and consequently enhances the competitiveness of the clothing retailer in a dynamic fashion industry. Thus the use of virtual displays is increasing. Implementing digital and virtual display screens in the visual displays of South African physical retail outlets could appeal to particular consumer segments. The innovation-generation consumer segment is the largest and foremost global consumer segment to date, with massive buying power, and this group’s affiliation for the virtual world should not be ignored, as it may prove to be useful when applying omni-channel retailing that stimulates a certain consumer experience. The aim of this paper is, therefore, to report on the evaluation of the female innovation-generation consumer with regard to a static traditional visual display or a virtual representation of the display. Two stimuli (displays) were presented to 653 female respondents from the innovation-generation consumer in Johannesburg (Gauteng). One stimulus was a static traditional visual display and the other a virtual representation thereof which included movement and music. The findings in this paper indicate that although the respondents understood the message of the virtual display and could identify with the symbolic meaning thereof, there is also evidence that the respondents’ emotions were evoked by both the stimuli. Nevertheless, it seems that the traditional visual display still seemed to be preferred with regard to the emotions that it evoked, especially regarding pleasure. The paper concludes with recommendations on the use of virtual displays to support South African clothing retailers.
- Full Text:
Transforming fashion education to design with intent
- Authors: Smal, Desiree
- Date: 2017
- Subjects: Transforming fashion education , Design with intent , Fashion design praxis
- Language: English
- Type: Conference proceedings
- Identifier: http://hdl.handle.net/10210/260207 , uj:27393 , Citation: Smal, D. 2017. Transforming fashion education to design with intent.
- Description: Abstract: Two fundamental shifts are currently evident in design. Firstly, a growing call to integrate research and praxis is evident. Secondly, a call to move fashion design praxis to more relevant and value-adding environmental sustainable and user-centered design approaches is emerging. As such, fashion education should align itself to such shifts. Conventionally, fashion education at fourth year placed greater emphasis on design and the making of products to culminate in a collection. This teaching and learning approach presented a number of challenges. Firstly, the design of such collections predominately grounded itself in areas such as celebrity culture and fashion trends but with no value to fashion design praxis. Secondly, a disjuncture between research and praxis was evident even though they both focussed on a common theme. This presented a gap for the authors to decolonise fashion education by transforming teaching and learning approaches at fourth year to ensure that students are educated in a manner that contribute to more meaningful and value-adding fashion design praxis. In this paper, the authors reflectively report in a three-fold manner. Firstly, a report on the rationale for decolonising and transforming fashion education at a fourth year. Secondly, a discussion on a research foci aligning to the notion of design with intent. Thirdly, a reflective discussion on how such a research foci informs and is applied to student praxis in the educational context. The paper begins with arguments extracted from literature to support the two fundamental calls evident in design and fashion design discourse. The paper then shifts to contextualise the conventional scope of fashion education at fourth year and justify the reasons for transformation. The authors then move to contextualise the research foci, grounded in design with intent, and how research informs student praxis by drawing on student cases. The paper concludes with some delimitations and challenges of such a teaching and learning approach. In transforming fourth year fashion education, design with intent underpinned research, which in turn informed student praxis opposes the conventional teaching and learning strategy. As such, this paper contributes to the larger discourse to ensure fashion design praxis and education is more relevant and value adding to current situations.
- Full Text:
- Authors: Smal, Desiree
- Date: 2017
- Subjects: Transforming fashion education , Design with intent , Fashion design praxis
- Language: English
- Type: Conference proceedings
- Identifier: http://hdl.handle.net/10210/260207 , uj:27393 , Citation: Smal, D. 2017. Transforming fashion education to design with intent.
- Description: Abstract: Two fundamental shifts are currently evident in design. Firstly, a growing call to integrate research and praxis is evident. Secondly, a call to move fashion design praxis to more relevant and value-adding environmental sustainable and user-centered design approaches is emerging. As such, fashion education should align itself to such shifts. Conventionally, fashion education at fourth year placed greater emphasis on design and the making of products to culminate in a collection. This teaching and learning approach presented a number of challenges. Firstly, the design of such collections predominately grounded itself in areas such as celebrity culture and fashion trends but with no value to fashion design praxis. Secondly, a disjuncture between research and praxis was evident even though they both focussed on a common theme. This presented a gap for the authors to decolonise fashion education by transforming teaching and learning approaches at fourth year to ensure that students are educated in a manner that contribute to more meaningful and value-adding fashion design praxis. In this paper, the authors reflectively report in a three-fold manner. Firstly, a report on the rationale for decolonising and transforming fashion education at a fourth year. Secondly, a discussion on a research foci aligning to the notion of design with intent. Thirdly, a reflective discussion on how such a research foci informs and is applied to student praxis in the educational context. The paper begins with arguments extracted from literature to support the two fundamental calls evident in design and fashion design discourse. The paper then shifts to contextualise the conventional scope of fashion education at fourth year and justify the reasons for transformation. The authors then move to contextualise the research foci, grounded in design with intent, and how research informs student praxis by drawing on student cases. The paper concludes with some delimitations and challenges of such a teaching and learning approach. In transforming fourth year fashion education, design with intent underpinned research, which in turn informed student praxis opposes the conventional teaching and learning strategy. As such, this paper contributes to the larger discourse to ensure fashion design praxis and education is more relevant and value adding to current situations.
- Full Text:
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