inclusive” approach leads to ownership of the project and
control of the outcome by the students, leading to greater
learning (Agarwal 2018).
Though the students had previously been exposed to the
knowledge and information about sustainability in the
fashion industry, it was found that working hands-on during
this project provided them experience about the zerowaste layout for patterns and construction techniques to
achieve good finishing and new look from pre-used
garments/textiles. Zero-waste fashion design involves creative pattern cutting which is both aesthetic and functional
(Carrico and Kim 2014). The students thus reported
increased ability in pattern making and cutting that can be
applied to new design areas. Upcycling and reconstruction
encouraged them to reuse garments and textiles, giving them
a new life as fashionable outfits. The combination of the
three sustainable techniques led them to previously untapped
areas of creativity and adaptability as well as additional
skills (Townsend and Mills 2013). Design educators, therefore, need to align design research, practice, and education to
be situated at the center of sustainability and vice versa to
redefine the role of design and fashion designers. The
transformation process of the fashion industry into one that
is more sustainable is a long-term commitment that will take
time and widespread change at all levels (Fletcher 2008).
Since the fundamental aim of the project was to find the
suitability and ways to embed education for sustainability
into the wider curriculum, the practical experience of this
study will be used as a building block for future courses in
the program.
5 Future Perspective
The research studied experimental practices in sustainability
in fashion that could be applied to a fashion design curriculum in the United Arab Emirates to prepare future
designers for working with the challenge of limited resources. The role and influence a designer can have in the
manufacturing process of fashion cannot be underestimated,
and the study builds on this premise to develop their
potential as sustainable designers to slow the flow of materials through the fashion system. The importance of such
practices was highlighted, and it was found that students
respond better and imbibe more during hands-on creative
work compared to the knowledge imparted theoretically.
The students were able to experience and witness multiple
approaches with a focus on sourcing, pattern making, garment construction, and finishing to present their work as
modern and saleable designs. They developed new skills and
built upon their existing knowledge in fashion design to find
ways of living within nature’s limits.
Since the study was restricted to the undergraduate
Fashion Design program at American University in the
Emirates, further research may be carried out after the
inclusion of such practices in the curriculum, and their
impact could be studied on students’ designing methodology
as well as behavior as a fashion consumer.
According to Fletcher (2008), not just sustainable practices, but an interconnected approach calling for user
involvement through a new way of consuming fashion and a
long-term commitment can bring about gradual change.
Studies may, therefore, be conducted to identify ways of
transforming consumers to be more sensitive to bring down
the impact generated by them at the individual level (Gardetti and Torres 2017).
References
Agarwal, S. (2017). Exploring a cross-cultural fashion design
pedagogy. In Innovation Arabia Smart Learning conference
(pp. 124–133). Hamdan Bin Mohammed Smart University. ISSN#
2414-6099.
Agarwal, S. (2018). The application of Lin’s conceptual framework of
creative pedagogy in Fashion Design education. In Innovation
Arabia Smart Learning conference. Hamdan Bin Mohammed Smart
University.
Bhamra, T., & Lofthouse, V. (2008). Design for sustainability. London:
Routledge
Brown, S. (2013). Refashioned: Cutting-edge clothing from upcycled
materials. Laurence King Publishing.
Brundtland, G. H. (1987). What is sustainable development. Our
common future, 8–9.
Carrico, M., & Kim, V. (2014). Expanding zero-waste design practices:
a discussion paper. International Journal of Fashion Design,
Technology and Education, 7(1), 58–64
Crabb, A. C. (2014). The future shape of design: fashion and longevity.
DeLong, M., Alice Casto, M., Min, S., & Goncu-Berk, G. (2017).
Exploring an up-cycling design process for apparel design education. Fashion Practice, 9(1), 48–68
Domina, T., & Koch, K. (1997). The textile waste lifecycle. Clothing
and Textiles Research Journal, 15(2), 96–102
Eskandarypur, F., Black, S., & Eckert, C. (2009). The development and
positioning of the considerate design tool in the fashion and textile
sector.
Evans, T. L. (2011). Living and learning sustainability: Pedagogy and
praxis in sustainability education. Prescott College.
Fletcher, K. (2008). Sustainable fashion and textiles: design journeys.
London, Sterling: Earthscan
Fletcher, K., & Grose, L. (2012). Fashion and sustainability: design for
change. Laurence King.
Gardetti, M. A., & Torres, A. L. (2017). Sustainability in fashion and
textiles: values, design, production and consumption. Routledge.
Greenpeace Germany research. Timeout for fast fashion. 6c356f9afact-sheet-timeout-for-fast-fashion. Retrieved 16th August 2018.
Grose, L. (2017). Fashion design education for sustainability practice:
Reflections on undergraduate level teaching. In Sustainability in
Fashion and Textiles (pp. 134–147). Routledge.
Gwilt, A., & Rissanen, T. (2012). Shaping sustainable fashion:
Changing the way we make and use clothes. Routledge.
Experimental Sustainable Practices in Fashion Education
101
control of the outcome by the students, leading to greater
learning (Agarwal 2018).
Though the students had previously been exposed to the
knowledge and information about sustainability in the
fashion industry, it was found that working hands-on during
this project provided them experience about the zerowaste layout for patterns and construction techniques to
achieve good finishing and new look from pre-used
garments/textiles. Zero-waste fashion design involves creative pattern cutting which is both aesthetic and functional
(Carrico and Kim 2014). The students thus reported
increased ability in pattern making and cutting that can be
applied to new design areas. Upcycling and reconstruction
encouraged them to reuse garments and textiles, giving them
a new life as fashionable outfits. The combination of the
three sustainable techniques led them to previously untapped
areas of creativity and adaptability as well as additional
skills (Townsend and Mills 2013). Design educators, therefore, need to align design research, practice, and education to
be situated at the center of sustainability and vice versa to
redefine the role of design and fashion designers. The
transformation process of the fashion industry into one that
is more sustainable is a long-term commitment that will take
time and widespread change at all levels (Fletcher 2008).
Since the fundamental aim of the project was to find the
suitability and ways to embed education for sustainability
into the wider curriculum, the practical experience of this
study will be used as a building block for future courses in
the program.
5 Future Perspective
The research studied experimental practices in sustainability
in fashion that could be applied to a fashion design curriculum in the United Arab Emirates to prepare future
designers for working with the challenge of limited resources. The role and influence a designer can have in the
manufacturing process of fashion cannot be underestimated,
and the study builds on this premise to develop their
potential as sustainable designers to slow the flow of materials through the fashion system. The importance of such
practices was highlighted, and it was found that students
respond better and imbibe more during hands-on creative
work compared to the knowledge imparted theoretically.
The students were able to experience and witness multiple
approaches with a focus on sourcing, pattern making, garment construction, and finishing to present their work as
modern and saleable designs. They developed new skills and
built upon their existing knowledge in fashion design to find
ways of living within nature’s limits.
Since the study was restricted to the undergraduate
Fashion Design program at American University in the
Emirates, further research may be carried out after the
inclusion of such practices in the curriculum, and their
impact could be studied on students’ designing methodology
as well as behavior as a fashion consumer.
According to Fletcher (2008), not just sustainable practices, but an interconnected approach calling for user
involvement through a new way of consuming fashion and a
long-term commitment can bring about gradual change.
Studies may, therefore, be conducted to identify ways of
transforming consumers to be more sensitive to bring down
the impact generated by them at the individual level (Gardetti and Torres 2017).
References
Agarwal, S. (2017). Exploring a cross-cultural fashion design
pedagogy. In Innovation Arabia Smart Learning conference
(pp. 124–133). Hamdan Bin Mohammed Smart University. ISSN#
2414-6099.
Agarwal, S. (2018). The application of Lin’s conceptual framework of
creative pedagogy in Fashion Design education. In Innovation
Arabia Smart Learning conference. Hamdan Bin Mohammed Smart
University.
Bhamra, T., & Lofthouse, V. (2008). Design for sustainability. London:
Routledge
Brown, S. (2013). Refashioned: Cutting-edge clothing from upcycled
materials. Laurence King Publishing.
Brundtland, G. H. (1987). What is sustainable development. Our
common future, 8–9.
Carrico, M., & Kim, V. (2014). Expanding zero-waste design practices:
a discussion paper. International Journal of Fashion Design,
Technology and Education, 7(1), 58–64
Crabb, A. C. (2014). The future shape of design: fashion and longevity.
DeLong, M., Alice Casto, M., Min, S., & Goncu-Berk, G. (2017).
Exploring an up-cycling design process for apparel design education. Fashion Practice, 9(1), 48–68
Domina, T., & Koch, K. (1997). The textile waste lifecycle. Clothing
and Textiles Research Journal, 15(2), 96–102
Eskandarypur, F., Black, S., & Eckert, C. (2009). The development and
positioning of the considerate design tool in the fashion and textile
sector.
Evans, T. L. (2011). Living and learning sustainability: Pedagogy and
praxis in sustainability education. Prescott College.
Fletcher, K. (2008). Sustainable fashion and textiles: design journeys.
London, Sterling: Earthscan
Fletcher, K., & Grose, L. (2012). Fashion and sustainability: design for
change. Laurence King.
Gardetti, M. A., & Torres, A. L. (2017). Sustainability in fashion and
textiles: values, design, production and consumption. Routledge.
Greenpeace Germany research. Timeout for fast fashion. 6c356f9afact-sheet-timeout-for-fast-fashion. Retrieved 16th August 2018.
Grose, L. (2017). Fashion design education for sustainability practice:
Reflections on undergraduate level teaching. In Sustainability in
Fashion and Textiles (pp. 134–147). Routledge.
Gwilt, A., & Rissanen, T. (2012). Shaping sustainable fashion:
Changing the way we make and use clothes. Routledge.
Experimental Sustainable Practices in Fashion Education
101