Perceptions of creativity in a fashion design course /

Creativity is important to the growth and development of society, to educational institutions, and to the personal growth of individuals. Students who are aware of their creativity are assumed to have innovative ideas and fresh insights. Limited research has been conducted to see if students can identify their own creative abilities. In this study, I explored the students' perceptions and experiences in a fashion design course. This study documented the creative journey from the concept stage of an apparel collection to the final product. Participants were asked to reflect and document their creative moments, describe a creative process, and identify a creative environment. The participants were students who were enrolled in a fashion design course and were asked to participate in this study because they experienced all stages of the design process. Data were collected through personal reflection surveys, focus groups, and personal interviews. Themes of creative moments that emerged from this study were experiences that the participants had as they proceeded through the stages of the fashion design process. All of the participants identified a creative process, but the stages varied for each participant The participants identified themes related to promoting creativity in an environment, including the atmosphere, creative people, teachers, reflection, student needs, and assignments. The participants identified potential barriers in an environment, including rules and guidelines, teachers, the classroom, deadlines and time, feedback, and other important issues. The results ofthis study suggest that there needs to be a better understanding of creativity and greater support and encouragement for creativity in the classroom. Instructors need to support environments that are conducive to creative development and lead to effective learning for students. Students need to learn how to enhance their creativity as well as understand the barriers that block their creative development.

The relationship between creativity and moral judgment

A sample of 50 male and female subjects ranging in age from 12 to 73 were divided into three groups according to the scale of maturity of moral judgment developed by Lawrence Kohlberg. Subjects were also tested on a measure of creativity developed by Torrance after the formulations of Guilford in order to test the hypothesis that the re^- lationship between creativity and maturity of moral judgment is curvilinear. Researchers have failed to develop any working hypothesis concerning the relationship between creativity and moral judgment or postulate any consistent theoretical framework concerning the possible relationship between these two constructs. The empirical investigation involved a scientific testing of a random selection of elementary subjects9 high school adolescents, and creative adults. Tests included Kohlberg8s Moral dilemmas and Guilford's Product Improvement Task. A trend analysis was conducted to reveal whether or not a curvilinear relationship existed between the independent variable (Moral Maturity Stages) and the de~ pe dent variable (creativity performance under each level). Curvilinear trends were observed in two out of four creativity subscales but were not statistically significant. It was concluded that these contradictory findings were due to the relatively small number of subjects tested, the narrow range or moral judgment scores, and the limited conception of creativity defined by the creativity measure used (The Product Improvement Task). It was suggested that an instrument assessing an identity status would be most useful as well as a creativity measure better suited for a theory of creativity essentially developmental in perspective.

Sustainability, Fashion Design, and Consumerism: Undergraduate Entry Level Fashion Students' Knowledge, Attitudes, and Habits

This qualitative inquiry explored 7 undergraduate students' attitudes, habits, and knowledge of consumerism, fashion design, and sustainability. The postmodern study employed crystallization as its methodological framework to gain insight into how participants' knowledge is manifested in their daily habits, and used 4 methods of data gathering: semistructured interviews, visual exercises, journal entries, and the researcher's own reflections. Four major themes emerged: Knowledge-Concepts Linked and Fragmented; Dissonance Between Knowledge Versus Attitudes and Consumer Habits; Surrendering to the Unsustainable Structures; Design Process and Caring Attitude. Findings indicate that participants possessed some knowledge of sustainability but lacked a well-rounded understanding of environmental and humanitarian implications of Western consumer society. Findings also reveal a dissonance between participants' knowledge and attitudes-affecting how their knowledge influences their behaviour-and how reflection, creative thinking, and drawing initiate change in participants' underlying attitudes. Recommendations are made to merge a variety of theoretical frameworks into the educational system in order to create curricula that offer a holistic overview and unique insights into sustainability challenges, particularly in specialized areas of the fashion industry.