Exploring a Framework for Fashion Design for Sustainability

2015 ◽  
pp. 454-467
Keyword(s):  
Fashion Design ◽  
Design For Sustainability

scholarly journals Essential competences to fashion design practice for sustainability from the perspective of Design Thinking

2016 ◽  
Author(s):  
Iana Uliana Perez ◽  
Cleuza Bittencourt Ribas Fornasier ◽  
Suzana Barreto Martins
Keyword(s):  
Design Thinking ◽  
Great Part ◽  
Fashion Design ◽  
Exploratory Research ◽  
Design Practice ◽  
Design For Sustainability ◽  
Design Activities ◽  
Productive Process ◽  
Similarities And Differences ◽  
Design Skills

The production and consumption of clothing products is characterised by rapid and continuous cycles of purchase, use and disposal of clothes, which leads to several environmental and social impacts. In order to change this reality and promote sustainability, this sector has to undergo deep transformations (Fletcher & Grose, 2011). In this context, designers play a significant role. In addition to being in the position of decision-making about materials and methods used in the productive process, the questions raised by sustainability demand design skills (Brown, 2010; Gwilt & Rissanen, 2011; Fletcher & Grose, 2011). However, the role reserved to fashion designers in this context is “more complex than traditional design activities” (Fletcher & Grose, 2011, p. 162). Design practice for sustainability demands different competences from the designer. In view of that, this paper explores the competences in design and fashion design for sustainability, and aims at verifying similarities and differences between them, in order to analyse the knowledge inherent to sustainability through design thinking. The methodology used for the study was deductive, conducted through qualitative exploratory research, outlined by bibliographic research and developed based on several books about design, fashion and sustainability. The identification of the competences took four aspects into account: types of thinking, types of knowledge (know what to do and why), skills (know-how) and attitudes (be willing to do). Design and fashion design competences for sustainability were compiled separately and then compared for similarities and differences. As a result, we found that great part of design competences are important for sustainable practices: approximately 58% of attitudes, 36% of thinking, 58% of knowledges and 41% of design skills are common to sustainable fashion design competences. The comparison shows the importance of attitudes to the work with sustainability – once its addition was significant –, and the need of acquiring specific knowledge of fashion design for sustainability. Research also shows that, for a professional with design competence, the development of thinking and skills needed for working with fashion design for sustainability is easier.DOI: http://dx.doi.org/10.4995/IFDP.2016.3266

scholarly journals Fashion Design Education and Sustainability: Towards an Equilibrium between Craftsmanship and Artistic and Business Skills?

2021 ◽  
Vol 11 (9) ◽  
pp. 531
Author(s):  
Monika Murzyn-Kupisz ◽  
Dominika Hołuj
Keyword(s):  
Public Schools ◽  
Design Education ◽  
Public Support ◽  
Fashion Design ◽  
Complex Nature ◽  
Global Challenge ◽  
Design For Sustainability ◽  
Private And Public ◽  
Sustainable Fashion ◽  
Sustainability Problems

Fashion designers can have a key role to play in making fashion more sustainable, as they are able to influence and contribute to all dimensions of fashion impact (economic, environmental, social, and cultural), both positive and negative. Fashion design education should be seen as a chance to make aspiring designers aware of the challenges and potential of design for sustainability and equip them with the knowledge and skills necessary to implement sustainable fashion approaches. Starting from this premise, the approach to various sustainability themes was examined in the particular national context of post-secondary schools offering fashion majors in Poland, one which so far has not been researched in any depth. The authors conducted interviews and analysed the publications, documents, web pages, and Facebook profiles of such schools. Their activities were examined and classified in respect of the main dimensions of comprehensive fashion education: art, craftsmanship, and business. The analysis provides a picture of the current situation and a review of the specific features of sustainable fashion education in both the global and Polish contexts. Contemporary fashion education requires multidimensional adjustments to curricula, reflecting the complex nature of sustainability problems. This is a global challenge, which in the Polish case is additionally exacerbated by insufficient and uncoordinated public support, problems related to the institutional context of private and public schools, and the low level of sustainability awareness among consumers.

scholarly journals Fashion Design for Sustainability. A transformative challenge across the European fashion education system.

2021 ◽  
Author(s):  
Erminia D'Itria ◽  
Federica Vacca
Keyword(s):  
Education System ◽  
Digital Transformation ◽  
Educational Institutions ◽  
Fashion Design ◽  
Digital Models ◽  
Daily Lives ◽  
Digital Platforms ◽  
Face To Face ◽  
Design For Sustainability ◽  
Key Issues

Today, we are witnessing the effects that the COVID-19 pandemic has had, and is still having, on social, economic and cultural life worldwide. In particular, the educational dimension has seen the regular operating of schools altered, with an indeterminate closure of educational institutions, as well as the impossibility to perform face-to-face lectures, and their transposition to digital platforms (Sà et Serpa, 2020). These difficult conditions can be a moment of opportunity to accelerate a process of digital transformation that was beginning to shift in higher education institutions (HEIs).  HEIs are using digital transformation strategies to refine how they work, to digitalize their existing operations while designing new digital models, to create entirely new digital models or to fully digitize their current ones (Rodrigues 2017). In the European fashion education system this can result in addressing the transformative challenges that are nurturing the discussion on the future of HEIs (Moja, 2008; Sterling, 2011; Fletcher and Williams, 2013). Therefore, digital innovation becomes the means by which implementing a positive transformation of the sector on key issues that will permeate our daily lives and that can no longer be postponed. Among the pivotal topics there is sustainability which today is slowly trying to establish itself (Wolff, 2020).   Trough the analysis of best practices, this paper will decode current behaviors in Fashion Design for Sustainability (FDfS) throughout the European fashion education system.

Design, power and colonisation: decolonial and anti-oppressive explorations on three approaches for Design for Sustainability

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Nicholas B. TORRETTA ◽  
Lizette REITSMA
Keyword(s):  
Power Relations ◽  
Colonial Power ◽  
Power Structures ◽  
Contemporary World ◽  
Design For Sustainability ◽  
The People ◽  
Reflexive Practice ◽  
Cross Country ◽  
Design Power ◽  
Relational Issue

Our contemporary world is organized in a modern/colonial structure. As people, professions and practices engage in cross-country Design for Sustainability (DfS), projects have the potential of sustaining or changing modern/colonial power structures. In such project relations, good intentions in working for sustainability do not directly result in liberation from modern/colonial power structures. In this paper we introduce three approaches in DfS that deal with power relations. Using a Freirean (1970) decolonial perspective, we analyse these approaches to see how they can inform DfS towards being decolonial and anti-oppressive. We conclude that steering DfS to become decolonial or colonizing is a relational issue based on the interplay between the designers’ position in the modern/colonial structure, the design approach chosen, the place and the people involved in DfS. Hence, a continuous critical reflexive practice is needed in order to prevent DfS from becoming yet another colonial tool.

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