The Stitchery collective : more than pretty clothes for pretty people

As a cultural field, the world of fashion is usually associated with ‘exclusive’ qualities such as celebrity, glamour and the value of being young beautiful and size 10. By and large fashion design courses adhere to this model of fashion production and consumption training their graduates to compete successfully in an industry that seems far removed from the notions inclusivity and connection of community engagement. However, alternative models can and do exist. This presentation tells the story of ‘the stitchery collective’ a group of graduates from QUTs Creative Industries Fashion program who are developing an innovative model of fashion practice focussed around the ideas and values both of community engagement and community cultural development. Their work to date has included projects that target specific community groups – such as “Fashioning Social Inclusion” (2010-2011) that works with Brisbane women who belong to migrant and refugee communities, as well as more recently “WARM” a workshop delivered to children at the 3rd International Kids’ Carnival hosted by La Biennale in Venice (February 2012). A common thread across these programs is a desire to investigate the premise that clothing and dress can potentially act as a lingua franca that enables connection and communication; and that in fact aspects of ‘fashion’ culture can be mobilised in a community focussed context to enhance cultural exchange. The issue of how ‘learning’ happens in these contexts provides rich scope for analysis and discussion – given the innovative and engaged nature of the work our discussion will particularly highlight the ‘leaning through doing’ that occurs as well as the ‘collective’ nature of the design processes we develop and promote. The story will include the voices and perspectives of several of the stitchery collective’s members as well as community partners.

The knock-on from the knock-off : recent shifts within Australian mass market fashion design practice

Australia's mass market fashion labels have traditionally benefitted from their peripheral location to the world's fashion centres. Operating a season behind, Australian mass market designers and buyers were well-placed to watch trends play out overseas before testing them in the Australian marketplace. For this reason, often a designer's role was to source and oversee the manufacture of 'knock-offs', or close copies of northern hemisphere mass market garments. Both Weller and Walsh have commented on this practice.12 The knock-on effect from this continues to be a cautious, derivative fashion sensibility within Australian mass market fashion design, where any new trend or product is first tested and proved overseas months earlier. However, there is evidence that this is changing. The rapid online dissemination of global fashion trends, coupled with the Australian consumer’s willingness to shop online, has meant that the ‘knock-off’ is less viable. For this reason, a number of mass market companies are moving away from the practice of direct sourcing and are developing product in-house under a northern hemisphere model. This shift is also witnessed in the trend for mass market companies to develop collections in partnership with independent Australian designers. This paper explores the current and potential effects of these shifts within Australian mass market design practice, and discusses how they may impact on both consumers and on the wider culture of Australian fashion.

The stitchery collective

The stitchery collective is fashion-based design collective. Founded in February 2010 the collective brings together creative practitioners from across an expanded field of fashion design to develop innovative new models for both the design, production and consumption of fashion in the 21st century. Under the broad question "can fashion be more than pretty clothes for pretty people?" the collective has developed a range of workshops, exhibitions and creative projects that both engage the wider public and targeted community groups. The projects include "consciousness raising: up cycling workshops, zero-waste pattern cutting workshops, and sewing workshops with members of Brisbane's Karen, Sudansese, and Iraqi communities. Through these projects we test how innovative fashion design practice can engage with questions of environmental sustainability, ethical practices, and social inclusion. Established around a set of people -centred values, the stitchery collective therefore seeks to re-cast fashion as a 'less bad' field of creative endeavor and, one that sustains, inspires and connects individuals and communities. In seeking to develop new models of fashion practice that are socially oriented and environmentally responsible the stitchery outcomes align with the broader field of Design for Sustainability.

Legal regulation of 'decent work' : evidence from two big industries in Bangladesh

In most developing countries, the overall quality of the livelihood of labourers, work place environment and implementation of labour rights do not progress at the same rate as their industrial development. To address this situation, the ILO has initiated the concept of 'decent work' to assist regulators articulate labour-related social policy goals. Against this backdrop, this article assesses the Bangladesh Labour Law 2006 by reference to the four social principles developed by the ILO for ensuring 'decent work'. It explains the impact of the absence of these principles in this Law on the labour administration in the ready-made garment and ship-breaking industries. It finds that an appropriate legislative framework needs to be based on the principles of 'decent work' to establish a solid platform for a sound labour regulation in Bangladesh.

Tactile abstractions [Exhibition Catalogue Essay]

Among the many meanings of abstraction is the focus on images that are at a distance from their origins. This understanding of abstraction is central to Savanhdary Vongpoothorn’s layered, textured and sensuous canvas Crossing (2003). The references in this painting to Laotian textile design and creation endows it with the sense of a fabric-like nature, gives it the feel of cloth wrapped around bodies and of threads woven into complex symmetrical patterns. Here, the distance from origins is expressed as a separation from the material forms of Lao culture. At the same time the work is a visual reference to the stretching or bending of forms, the breaking up of shapes in the natural or constructed environment, all of which create an expressive effect through the warm rose grid and visual illusions of movement and travel. This visual play suggests the sense that migration or movement is a means through which cultural forms get recoded and translated. The making of Crossing like many of Savanhdary’s works involved manipulation of the canvas through pricking and poking, and then the application of layers and dots of paint. The overall effect is one of a synthesis of different cultural motifs and the addition of new dimensions to familiar forms. This highlights the centrality of the idea of 'reassemblage’ in abstraction, the processes of remaking of self, of the natural world and of cultural artefacts. Savanhdary constructs intricate laced knots of colour and texture in work which expresses the possibilities presented by travel, migration and the subsequent remixture that emerges upon crossing through different cultural worlds.

Chinese fashion designers in Shanghai : a new perspective

Shanghai possesses an apt legacy, once referred to as “Paris of the East”. Municipal aspirations for Shanghai to assume a position among the great fashion cities of the world have been integrated in the recent re-shaping of this modern city into a role model for Chinese creative enterprise yet China is still known primarily as centre of clothing production. Increasingly however, “Made in China” is being replaced by “Created in China” drawing attention to two distinct consumer markets for Chinese designers. Fashion designers who have entered the global fashion system for education or by showing their collections have generally adopted a design aesthetic that aligns with Western markets, allowing little competitive advantage. In contrast, Chinese designers who rest their attention on the domestic Chinese market find a disparate, highly competitive marketplace. The pillars of authenticity that for foreign fashion brands extend far into their cultural and creative histories, often for many decades in the case of Louis Vuitton, Hermes and Christian Dior do not yet exist in China in this era of rapid globalisation. Here, the cultural bedrock allows these same pillars to extend only thirty years or so into the past reaching the moments when Deng Xiaoping granted China’s creative entrepreneurs passage. To this end, interviews with fashion designers in Shanghai have been undertaken during the last twelve months for a PhD dissertation. Production of culture theory has been used to identify working methods, practices of production and the social and cultural milieu necessary for designers to achieve viability. Preliminary findings indicate that some fashion designers have adopted an as-yet unexplored strategy of business and brand development with a distinct Chinese aesthetic at its core, in contrast to the clichéd cultural iconography often viewed by Western viewers as representative of Chinese creativity.

Skin cancer prevention and fashion – frontier bedfellows

Problem Queensland has the highest rates of skin cancer in the world, even after wide-ranging public programs promoting sun safety awareness. To-date, public awareness campaigns on the dangers of excessive sun exposure have been highly successful. For adolescents, however, where a significant amount of lifetime sun exposure occurs, perilous exposure still ensues, despite awareness of the risks. New frontier approaches are required to target this key audience cluster, for this significant national problem. Approach For the majority of adolescents, being part of a collective norm defines their visual, attitudinal and behavioural actions and fashion has been validated as one of the most powerful forces that can form, shape and bolster these norms. Considering clothing is the easiest method to limit the amount of skin exposed to UV, fashion (in its many subtle, yet influential guises) is proposed as an avenue to advance positive sun safe practices for adolescents. Through an action-led methodology, this research explores the potential of fashion, as one of the key parts of a complex equation, to be a prime driver to facilitate sun safety for adolescents. Findings This paper advocates that fashion, as distinguishable from clothing, has the potential to positively influence sun protective behaviour. The findings go further and recommend the use of fashion as a stealth driver for sun safety advancement, for adolescents in particular, via shifts in norms of beauty and targeted generational communication strategies. This frontier approach has the potential to significantly reduce risky sun exposure in adolescence.

What encourages sun protection among outdoor workers from four industries?

Objectives: We aimed to identify current practice of sun protection and factors associated with effective use in four outdoor worker industries in Queensland, Australia. Methods: Workplaces in four industries with a high proportion of outdoor workers (building/construction, rural/farming, local government, and public sector industries) were identified using an online telephone directory, screened for eligibility, and invited to participant via mail (n=15, recruitment rate 37%). A convenience sample of workers were recruited within each workplace (n=162). Workplaces’ sun protective policies and procedures were identified using interviews and policy analysis with workplace representatives, and discussion groups and computer-assisted telephone interviews with workers. Personal characteristics and sun protection knowledge, attitudes and behaviors were collated and analysed. Results: Just over half the workplaces had an existing policy which referred to sun protection (58%), and most provided at least some personal protective equipment (PPE), but few scheduled work outside peak sun hours (43%) or provided skin checks (21%). Several worker and workplace characteristics were associated with greater sun protection behaviour among workers, including having received education on the use of PPE (p<0.001), being concerned about being in the sun (p=0.002); and working in a smaller workplace (p=0.035). Conclusions: Uptake of sun protection by outdoor workers is affected by a complex interplay of both workplace and personal factors, and there is a need for effective strategies targeting both the workplace environment and workers’ knowledge, attitudes and behaviors to decrease harmful sun exposure further.

Re-think, Re-generate, Re-envisage fashionable sun-safe apparel

Design is a way of thinking and working that systematically can create immense societal change. In particular, fashion design is one of the most progressively forward-looking creative and commercial generators that can envisage and initiate meaningful visual and social transformation. If we look back in time at the authority of fashion, many trends have significantly induced visual norms aligning glamour and health with tanned skin - numerous examples exist, including Vogue magazine proclaiming (front-cover) that ‘The 1929 girl must be tanned’. Indeed, in a contemporary landscape, fashion trends continue to re-generate apparel that, in-the-main, has limited design resolution connected to sun safety, and surprisingly many designers elect to ignore this vital and potentially lucrative market segment. In a context with soaring skin cancer rates, how can this powerful design medium of fashion make a positive difference to sun protection; what is the untapped potential for young design talent to connect with the health sector for skin cancer prevention; and, how can fashion designers be swayed to design and produce fashionable sun-safe apparel, that address pertinent issues including heat build up, comfort and transformability? Through a case study approach, examining emergent fashion designers, this paper will propose that astute and novel avenues exist for fashion to re-think sun protective apparel, including: generation of crucial design standards for sun-safe apparel, exploration of co-branding opportunities, advancement of fashion forecasting to connect modesty of body coverage to fashion trends and alignment of the market segment to re-envisage a critical mass for fashionable sun-safe apparel.

Creative Work Beyond the Creative Industries : Innovation, Employment and Education

Creative workers are employed in sectors outside the Creative Industries often in greater numbers than within. This is the first book to explore the phenomena of the embedded creative and creative services through a range of sectors, disciplines, and perspectives. Despite the emergence of these creative workers, very little is known about their work life, and why companies seek to employ them. This book asks: how does creative work actually ‘embed’ into a service or product supply chain? What are creative services? What work are embedded creatives doing? Which industries are they working in? This collection explores these questions in relation to innovation, employment and education, using various methods and theoretical approaches, in order to examine the value of the embedded creative and creative services and to discover the implications of education and training for these creative workers. This book will be of interest to practitioners, policy makers and industry leaders in the Creative Industries, in particular digital media, application development, design, journalism, media and communication. It will also appeal to academics and scholars of innovation, Cultural Studies, business management and Labour Studies.

Creating a Sustainability Scorecard as a predictive tool for measuring the complex social, economic and environmental impacts of industries, a case study : assessing the viability and sustainability of the dairy industry

Sustainability is a key driver for decisions in the management and future development of industries. The World Commission on Environment and Development (WCED, 1987) outlined imperatives which need to be met for environmental, economic and social sustainability. Development of strategies for measuring and improving sustainability in and across these domains, however, has been hindered by intense debate between advocates for one approach fearing that efforts by those who advocate for another could have unintended adverse impacts. Studies attempting to compare the sustainability performance of countries and industries have also found ratings of performance quite variable depending on the sustainability indices used. Quantifying and comparing the sustainability of industries across the triple bottom line of economy, environment and social impact continues to be problematic. Using the Australian dairy industry as a case study, a Sustainability Scorecard, developed as a Bayesian network model, is proposed as an adaptable tool to enable informed assessment, dialogue and negotiation of strategies at a global level as well as being suitable for developing local solutions.

Cloud computing : what upstream oil and gas can learn from other industries

The topic of “the cloud” has attracted significant attention throughout the past few years (Cherry 2009; Sterling and Stark 2009) and, as a result, academics and trade journals have created several competing definitions of “cloud computing” (e.g., Motahari-Nezhad et al. 2009). Underpinning this article is the definition put forward by the US National Institute of Standards and Technology, which describes cloud computing as “a model for enabling ubiquitous, convenient, on-demand network access to a shared pool of configurable computing resources that can be rapidly provisioned and released with minimal management effort or service provider interaction” (Garfinkel 2011, p. 3). Despite the lack of consensus about definitions, however, there is broad agreement on the growing demand for cloud computing. Some estimates suggest that spending on cloudrelated technologies and services in the next few years may climb as high as USD 42 billion/year (Buyya et al. 2009).

Acquiring ‘doctorateness’ in the creative industries : an Australian perspective on professional research doctorates

Over the last two decades, particularly in Australia and the UK, the doctoral landscape has changed considerably with increasingly hybridised approaches to methodologies and research strategies as well as greater choice of examinable outputs. This paper provides an overview of doctoral practices that are emerging in the creative industries context, from a predominantly Australian perspective, with a focus on practice-led approaches within the Doctor of Philosophy and recent developments in professional doctorates. The paper examines some of the diverse theoretical principles which foreground the practitioner/researcher, methodological approaches that incorporate tacit knowledge and reflective practice together with qualitative strategies, blended learning delivery modes, and flexible doctoral outputs;and how these are shaping this shifting environment towards greater research-based industry outputs. The discussion is based around a single extended case study of the Doctor of Creative Industries at Queensland University of Technology (QUT) as one model of an interdisciplinary professional research doctorate.

But what makes it doctoral? Taking on the traditionalists : interdisciplinary, practice-led doctoral research in the creative industries - a case study in academic politics, research, rigour and relevance

This paper examines a Doctoral journey of interdisciplinary exploration, explication, examination...and exasperation. In choosing to pursue a practice-led doctorate I had determined from the outset that ‘writing 100,000 words that only two people ever read’, was not something which interested me. Hence, the oft-asked question of ‘what kind of doctorate’ I was engaged in, consistently elicited the response, “a useful one”. In order to satisfy my own imperatives of authenticity and usefulness, my doctoral research had to clearly demonstrate relevance to; productively inform; engage with; and add value to: wider professional field(s) of practice; students in the university courses I teach; and the broader community - not just the academic community. Consequently, over the course of my research, the question, ‘But what makes it Doctoral?’ consistently resounded and resonated. Answering that question, to satisfy not only the traditionalists asking it but, perhaps surprisingly, some academic innovators - and more particularly, myself as researcher - revealed academic/political inconsistencies and issues which challenged both the fundamental assumptions and actuality of practice-led research. This paper examines some of those inconsistencies, issues and challenges and provides at least one possible answer to the question: ‘But what makes it Doctoral?’