Frock Paper Scissors [annual hard copy fashion magazine editions]

The Frock Paper Scissors magazine (and accompanying web site, www.frockpapersissors.com ) has been the focus of assessment in a Fashion and Style Journalism unit from 2006 to 2011 (current). The research has focused on the ways in which synergies across disciplines can be developed through student engagement on authentic projects (with a public audience). Up to 80 students from the Fashion Design, Journalism, Media Communication, Creative Industries, Business, Creative Writing and Communication Design discipline areas in the Creative Industries Faculty at Queensland University of Technology (QUT) work on the content, production, layout and funding for the Frock Paper Scissors magazine (and web site). Research focusses on how this authentic assessment task has been integrated into the classes; discussing the approaches taken by teaching staff, the challenges faced, and the ways in which student learning outcomes have been improved and their career outcomes enhanced. The final output requires staff to curate a professional hard copy fashion magazine(and website) where 5,000 copies are distributed annually throughout south east Queensland, Sydney, Melbourne, London, New York and Amsterdam.

Fashion localisation in a global aesthetic market

This paper investigates how fashion circulates globally and is adapted and localised by consumers. The rise of fashion blogs, social networking, on-line retail and on-line streaming of fashion shows has exponentially increased the availability of fashion images globally, enabling a further multiplication of styles and looks. The geographical dispersion of production systems in third world countries, and the concentration of management and finance in first world countries are increasingly acknowledged as having an uneven social and economic effect. However, processes of hibridisation and creolisation give rise to new cultural forms where the local and the foreign are mixed in interesting ways. I argue that the current circulation of fashion must be understood as adaptation in which “outside aesthetic influence is integrated into and becomes part of an existing style tradition” (Lynch and Strauss, 2007, p. 154). This emergence of new local and eclectic styles denies assumptions in which consumers are disengaged while duped by a system of commodification. The paper argues that, through a process of “deterritorialisation”, “displacement” and “repatriation” (Appadurai 1996, p. 32), creative ordinary consumers are able to engage with fashion, reinventing it in the context of their local cultures.

Unravelling design : fashion, dressmaking, ethos

Discourses on ethical fashion are usually geared toward finding solutions—or right outcomes—to ethical problems, based on a teleological model of design and a positioning of the designer as an autonomous and isolated design authority. This practice-led project argues, however, that considerations of design ethics must take into account not only the outcome of a design, but also the ongoing, lived experience of designing as a making located in pre-existing social, historical and cultural conditions. Through an exploration of my own dressmaking practice and a reading of ethos as location, I argue for two things: one, for the designer as a located entity rather than an autonomous "author", and, two, against design-asplan and the original design object, and for the circular and conditioned character of design. Through a connection to ethos, understandings of design ethics shift from an end object focus to something situated, and invested in, everyday lived experience—and always in the making.

The life-cycle of the fashion garment and the role of Australian mass market designers

This paper uses the lens of life-cycle thinking to discuss recent developments in the Australian mass market fashion industry, and to explore the opportunities and barriers to implementing lifecycle thinking within mass market design processes. Life-cycle analysis is a quantitative tool used to assess the environmental impact of a material or product. However the underlying thinking of life-cycle analysis can also be employed more generally, enabling a designer to assess their processes and design decisions for sustainability. A fashion designer employing life cycle thinking would consider every stage in the life of a garment from fibre and textiles through to consumer use, to eventual disposal and beyond disposal to reuse and later disassembly for fibre recycling. Although life-cycle thinking is rarely considered in the design processes of the fast-paced, price-driven mass market, this paper explores its potential and suggests ways in which it could be implemented.

Frantic fashion and Australia’s invisible designers : conversations on sustainability in the mass market

The majority of Australians will work, sleep and die in the garments of the mass market. Yet, as Ian Griffiths has termed it, the designers of these garments are ‘invisible’ (2000). To the general public, the values, opinions and individual design processes of these designers are as unknown as their names. However, the designer’s role is crucial in making decisions which will have impacts throughout the life of the garment. The high product volume within the mass market ensures that even a small decision in the design process to source a particular fabric, or to use a certain trim or textile finish, can have a profound environmental or social effect. While big companies in Australia have implemented some visible strategies for sustainability, it is uncertain how these may have flowed through to design practices. To explore this question, this presentation will discuss preliminary findings from in-depth semi-structured interviews with Australian mass market fashion designers and product developers. The aim of the interviews was to hear the voice of the insider – to listen to mass market designers describe their design process, discuss the Australian fashion industry and its future challenges and opportunities, and to comment on what a ‘sustainability’ for their industry could look like. These interviews will be discussed within the framework of design philosopher Tony Fry’s writing on design redirection for sustainability.

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 (2007) and Walsh (2009) have commented on this practice. 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 designers, consumers and on the wider culture of Australian fashion.

The lifecycle of the fashion garment : voices of mass market designers

For the Australian fashion industry to move towards a more socially and environmentally ethical industry, change to existing processes would need to occur in all market levels. Change is particularly needed in the mass market, where larger volumes inevitably lead to greater environmental impact. Recent trends in eco fashion have waxed and waned, with only minor impact on the methodology of the mass market design process, with greenwashing and confusion of concepts being common problems. In the mass market, the product lifecycle begins in the design room and ends on the retail floor. A design process for sustainability necessarily expands this lifecycle, assessing the impact of every stage in the life of a fashion garment from the fibre and textiles through to consumer use, to eventual disposal and beyond disposal to fibre recycling and reuse or resale. However, how easy is it for designers to consider a wider view of the product lifecycle in their design process? How much autonomy do they have over their design process, and where do they believe their responsibility begins and ends for the garments they design? This paper will present some preliminary findings from interviews with designers in the Australian women’s wear mass market, revealing their concerns and views on the challenges of a sustainability for their industry.

The business of fashion : entrepreneurship and enterprise learning for the new ‘creative’ global marketplace – the Australian case study [Abstract]

While the fashion industry is normally first to recognise trends and embrace creativity, fashion designers are sometimes the last to acknowledge that business acumen and entrepreneurial skills are needed. However, fashion designers and entrepreneurs are now all members of the new ‘creative’ global marketplace with its inherent need to sell globally and be competitive with international brands. For the Australian industry, this tension creates enormous pressures due to Australia’s small population (and market/s), the decreasing textile and manufacturing base, the increase of ‘creative’ micro businesses and with this the increasing number of young Australians wanting to start their own fashion business. This paper highlights the current size of the Australian fashion industry, the trend for small business models, the ‘career portfolio’ entrepreneur and strategies Australian universities are undertaking to address students wishing to enter the business of fashion. It also identifies case studies where enterprise learning pedagogy has been successfully implemented into the business education of an Australian fashion program and concludes with recommendations for an enterprise pedagogy that creates authentic learning, while working with industry and community stakeholders in flexible university formats.

A burning issue : fashion and sun protection

The 'dick' tog, a briefs-style male swimsuit as it is colloquially referred to, is linked to Australia's national identity with overtly masculine bronzed 'Aussie' bodies clothed in this iconic apparel. However, the reality is, our hunger for worshiping the sun and the addiction to a beach culture is tempered by the pragmatic need to cover up and wear neck-to-knee, or more apt, head-to-toe sun protective clothing. Australia, in particular the state of Queensland, has one of the highest rates of skin cancer in the world; nevertheless, even after wide-ranging public programs for sun safety awareness many people still continue to wear designs that provide minimal sun protection. This paper will examine issues surrounding fashion and sun safe clothing. It will be proposed that in order to have effective community adoption of sun safe practices it is critical to understand the important role that fashion plays in determining sun protective behaviour.

Reflections around artefacts - using a deliberative approach to teaching reflective practices in fashion

The importance of reflection in higher education, and across disciplinary fields is widely recognised; it is generally included in university graduate attributes, professional standards and program objectives. Furthermore, reflection is commonly embedded into assessment requirements in higher education subjects, often without necessary scaffolding or clear expectations for students. Despite the rhetoric around the importance of reflection for ongoing learning, there is scant literature on any systematic, developmental approach to teaching reflective learning across higher education programs/courses. Given that professional or academic reflection is not intuitive, and requires specific pedagogic intervention to do well, a program/course-wide approach is essential. Over the last 18 months, teaching staff from five QUT faculties: Business, Creative Industries, Education, Health and Law, have been involved in an ALTC-funded project to develop a systematic, cross-faculty approach to teaching and assessing reflection in higher education. This forum will present a reflective model that staff have used in their teaching and they will also share their ideas and approaches to reflective teaching and assessment with colleagues from QUT and other universities. A poster format will enable forum participants to talk informally with the presenters about how the approaches and resources they have developed for units have contributed to the development of the reflective model which can be applied across faculties. Participants will also be able to explore the web resources which have been developed as part of the project.

‘Spotty Dick’ : a research experiment to test design suitability for the use of jewelled spot matrix patterns for UV aware men’s swimwear

The great male Aussie cossie is growing spots. The ‘dick’ tog, as it is colloquially referred to, is linked to Australia’s national identify with overtly masculine bronzed Aussie bodies clothed in this iconic apparel. Yet the reality is our hunger for worshiping the sun and the addiction to a beach lifestyle is tempered by the pragmatic need for neck-to-knee, or more apt head-to-toe, swimwear. Spotty Dick is an irreverent play on male swimwear – it experiments with alternate modes to sheath the body with Lyrca in order to protect it from searing UV’s and at the same time light-heartedly fools around with texture and pattern; to be specific, black Scharovsky crystals, jewelled in spot patterns - jewelled clothing is not characteristically aligned to menswear and even less so to the great Aussie cossie. The crystals form a matrix of spots that attempt to provoke a sense of mischievousness aligned to the Aussie beach larrikin. Ironically, spot patterns are in itself a form of a parody, as prolonged sun exposure ages the skin and sun spots can occur if appropriate sun protection is not used. ‘Spotty Dick’ – a research experiment to test design suitability for the use of jewelled spot matrix patterns for UV aware men’s swimwear. The creative work was paraded at 56 shows, over a 2 week period, and an estimated 50,000 people viewed the work.

Reflections around artefacts : using a deliberative approach to teaching reflective practices in fashion

While asking students to think reflectively is a desirable teaching goal, it is often fraught with complexity and sometimes poorly implemented in higher education. Here we describe an approach to academic reflective practice that fitted well within an existing design subject in fashion education and was perceived as effective in enhancing student learning outcomes. In many design based disciplines it is essential to evaluate, through a reflective lens, the quality of tangible design outcomes - referred to as artefacts in this case. Fashion studio based practice (unlike many other theory based disciplines) requires an artefact to be viewed, in order to initiate the reflective process. This reflection is not solely limited to reflective writing - the reflection happens through sight, touch and other non traditional approaches. Fashion students were asked to reflect before, during and after the development of an artefact and through a variety of media a review of the first garment prototype, called 'Sample Review', occurred. This teaching approach has been formalised as a "pedagogic pattern" in order to abstract successful experience for re use by other university teachers in different contexts. This case study fits within the broader project outlined in Paper 1. In this presentation we explore some of the complexities associated with teaching academic reflection along with the value in representing successful practices as pedagogical patterns. The teaching practice and student outcomes associated with the case study will be described. Finally, we shall argue that the pedagogical pattern, called 'Reflection Around Artefacts', can be applied in diverse discipline areas, and especially where students are engaged and reflecting on the design of an artefact(such as an assignment that includes the making of a professionally-relevant product).

Illustrating fashion - Brisbane Square Library exhibition

Creative Practice exhibited at the Brisbane Square Library Illustrating Fashion exhibition. Accompanied works from acclaimed fashion labels, Easton Pearson Julie Tengdhal and Dogstar.

Reflections around artefacts : using a deliberative approach to teaching reflective practices in fashion studies

While requiring students to think reflectively is a desirable teaching goal, it is often fraught with complexity and is sometimes poorly implemented in higher education. In this paper, we describe an approach to academic reflective practices that fitted a design subject in fashion education and was perceived as effective in enhancing student learning outcomes. In many design-based disciplines, it is essential to evaluate, through a reflective lens, the quality of tangible design outcomes - referred to here as artefacts. Fashion studio based practice (unlike many other theory based disciplines)requires an artefact to be viewed in order to initiate the reflective process. This reflection is not solely limited to reflective writing; the reflection happens through sight, touch and other non-traditional approaches. Fashion students were asked to reflect before, during and after the development of an artefact. Through a variety of media, a review of the first garment prototype - called a Sample Review - occurred. The reflective practices of students during the Sample Review provided a valuable insight into their own learning, as well as a valid assessment indicator for the lecturer. It also mirrored industry practices for design evaluation. We believe that this deliberative approach, characterised by artefact-prompted reflection, has wide applicability across undergraduate courses in a variety of discipline areas.

Pass the scissors : consumers close in on the fashion industry

The fashion ecosystem is at boiling point as consumers turn up the heat in all areas of the fashion value, trend and supply chain. While traditionally fashion has been a monologue from designer brand to consumer, new technology and the virtual world has given consumers a voice to engage brands in a conversation to express evolving needs, ideas and feedback. Product customisation is no longer innovative. Successful brands are including customers in the design process and holding conversations ‘with’ them to improve product, manufacturing, sales, distribution, marketing and sustainable business practices. Co-creation and crowd sourcing are integral to any successful business model and designers and manufacturers are supplying the technology or tools for these creative, active, participatory ‘prosumers’. With this collaboration however, there arises a worrying trend for fashion professionals. The ‘design it yourself’, ‘indiepreneur’ who with the combination of technology, the internet, excess manufacturing capacity, crowd funding and the idea of sharing the creative integrity of a product (‘copyleft’ not copyright) is challenging the notion that the fashion supply chain is complex. The passive ‘consumer’ no longer exists. Fashion designers now share the stage with ‘amateur’ creators who are disrupting every activity they touch, while being motivated by profit as well as a quest for originality and innovation. This paper examines the effects this ‘consumer’ engagement is having on traditional fashion models and the fashion supply chain. Crowd sourcing, crowd funding, co-creating, design it yourself, global sourcing, the virtual supply chain, social media, online shopping, group buying, consumer to consumer marketing and retail, and branding the ‘individual’ are indicative of the new consumer-driven fashion models. Consumers now drive the fashion industry - from setting trends, through to creating, producing, selling and marketing product. They can turn up the heat at any time _ and any point _ in the fashion supply chain. They are raising the temperature at each and every stage of the chain, decreasing or eliminating the processes involved: decreasing the risk of fashion obsolescence, quantities for manufacture, complexity of distribution and the consumption of product; eliminating certain stages altogether and limiting the brand as custodians of marketing. Some brands are discovering a new ‘enemy’ – the very people they are trying to sell to. Keywords: fashion supply chain, virtual world, consumer, ‘prosumers’, co-creation, fashion designers