INFLUENCE OF TEACHING METHODS ON COMPETENCE

OF FASHION AND DESIGN STUDENTS

Henry Mark
International Journal of Fashion and Design

Vol.1, Issue 1, pp 40-50, 2021 www.iprjb.org

Influence of teaching methods on competence of fashion and design

students
Henry Mark
Department of Pedagogy and Teaching, University of Sau Paulo
Corresponding Author’s email: [email protected]

Abstract

Purpose: The purpose of this research was to assess the influence of teaching methods on
competence of fashion and design students.
Methodology: A qualitative textual evaluation method was used in this research. Textual analysis
consists of review and interpretation of scripts and articles and their inferential context. The
research involved literature search and paper review of information on silk fashion growth. The
study adopted a desktop literature review method (desk study).
Results: The study recognized poor students approach to learning creativity; specifically, the non-
application of analytical, conceptual and synthesiscal skills in solving problems. It is expedient to
re-iterate that tutors are foremost in the education sector and they make the most difference in
knowledge acquisition. Tutors should therefore continuously improve on their professional
knowledge and practice by exploring creative applications and nurturing students’ creativity at
every opportunity. It is widely believed that tutors who vary their instruction possess more
professional expertise and produce more learning in their students than do tutors who use the same
approach to meet all their learning goals.
Unique contribution to theory, practice and policy: The study recommend that lecturers should
not solely direct their teaching towards attainment of good examination results. Student should be
assisted by their lecturers to take up work placements relevant to their programmes of study to
enable them to acquire additional competency skills from experts in the industry.

Keywords: teaching methods, fashion and design, learning creativity, professional expertise

INTRODUCTION

Today, many of the internationally acclaimed fashion designers create original products using
inspiration from various historical and contemporary sources. Majority of the apparel designers
develop new products of various types in accordance with the trends set by the leading
international designers (Abrami et al., 2008). Style is one of the most important aspects in garment
design. Fashion design involves the designer thinking of a garment, sketching it and then sewing
it together. There are three techniques that are core to the realization of the design concept and
finally construction of the garment design. These are: the flat pattern making, draping design and
CAD technique (Kaindi et al., 2016). According to Sarpong, Howard and Amankwah (2012), the

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one fervent wish of modern students of dress design and pattern making is to translate their designs
into finished garments as speedily as possible. This desire is further fuelled by the fashion design
industry with large turnover of styles every year. The prospective fashion designer must be
artistically creative and understand technical aspects of design. Fashion design is highly
competitive and the more prepared the aspiring designers are, the more easily they will broaden
their opportunities. Abrami et al., (2008) posits that draping is done by cutting and shaping the
muslin or garment fabric on a dress form to create a pattern. The designer sees the proportions and
lines of the design exactly as they will look on a human-like figure (body form). Draping is ideal
for soft flowing designs. The method is mainly used for producing couture dresses and evening
wear. In flat pattern design, however, basic patterns of bodices, sleeves, pants or skirts are draped
or drafted. The flat pattern method uses angles, rulers and curves to change existing board patterns.
Computer-aided design systems have small graphic patterns that are manipulated on the computer
screen by the pattern maker. The use of geometry drivers makes infinite number of changes to the
shapes and sizes of the patterns. The large quantity of styles produced in the fashion industry
demands from today’s designer and pattern cutter a great degree of versatility and knowledge of
pattern making (Sinha, 2002). Sternberg (2006) observes that fashion design students feel that the
training they receive in apparel CAD does not adequately prepare them to undertake CAD-related
jobs in the apparel industry. Amankwah (2007) notes that pattern making, draping design and
CAD techniques are critical to the fashion designer's concept that is being made into a garment.
Each of these techniques serves the purpose of creating a style pattern that can be used to construct
the designer's concept. It is important to remember that without using one of these techniques, it
is almost impossible for a new fashion design concept to be made into a wearable garment. Abrami
et al., (2008) notes that a good pattern maker must learn how to drape a pattern on a dress form,
draft perfect flat patterns and create patterns by computer. This is because their first job placement
maybe as a sample cutter or pattern grader.
Studies have shown that many fashion design graduates of the Technical Universities were finding
it difficult to establish their own fashion design businesses or secure jobs with the garment industry
largely due to creative skills gaps. Cursory observation and discussion with some fashion design
professionals in the Western Region revealed the lack of creativity in the fashion graduates.
Creativity is a talent that almost everyone has to some degree but the extent to which it is developed
makes a lot of the difference. The ability to recognize and creatively exploit opportunities has
become an essential skill (Florida, 2002). Of course, it takes hard work, creativity and true passion
for fabulous designers to achieve success as fashion designers (Lauren, 2007). To be successful in
the dress-making industry, it is very critical for the students of fashion to have adequate and
appropriate training in all facets of the industry with greater focus on acquiring dexterity in idea
and inspirations development techniques, critical thinking and creative design skills. In the ever
changing world of the fashion industry, creative skills are imperative (Karpova, Marcketti &
Barker, 2009). The highly competitive nature of the fashion industry requires that students of
fashion are trained to become life-long learners who can think critically and solve problems. The
sophisticated tastes of consumers have compelled many fashion institutions to re-design their
curricula to focus on subjects like critical thinking, problem solving and fashion marketing to
adequately prepare students for the competitive fashion market. It is imperative for fashion

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designers and students of fashion to be creative and original in their designs to become successful
in their professions; having the ability to use imagination to make original patterns and outfits
Concept of creativity
There are many definitions of creativity as there are researchers in this field. The range of scholarly
interests in creativity includes a multitude of definitions and approaches involving several
disciplines: psychology, cognitive science, education, philosophy, sociology etc. Guilford (1950)
defined creativity exclusively as a mental process. Sternberg (2006) indicated that creativity
overlaps with intelligence, cognitive style and personality or motivation. He added that intellectual
dimension of creativity deals with problem finding and problem definition. Boden (1994) defines
creativity as producing something that is novel or different. He also said in order for this new idea
to be interesting it needs to be intelligible and easily understood. Court (1998) presented another
definition stating that the ability of human intelligence helps individuals to use their imagination
to produce original ideas and solutions. To be a successful fashion designer, one needs broad
talents including artistic and creative skills. A designer should be able to visualize an outfit before
sketching a single stitch, possess a range of style and have the ability to constantly dream up
fashion ideas. The problem solving process should be kept democratic and keep the students’
energy level high by keeping them engaged and alert by watching the size of the group. Ballie
(2003) says it is better to have a group size that does not exceed three people. Students should be
made to solve problems that mean something to them.
Creative process
Theories that focus on the creative process aim to understand the nature of the mental mechanisms
that occur when a person is engaged in creative thinking or creative activity. All creative
professionals have different workflows and systems leading to successful end point but the general
sequence of processes is usually the same ranging from three (3) to seven (7) stages. Being able to
develop a valuable and unique idea is the most important activity in the fashion design process.
How do you keep ideas flowing? How do you create a wealth of ideas to choose from? How do
you make sure that you generate a fascinating idea that will hit the headlines or stand out from the
rest? Some people like to wait for inspiration to strike whilst most professionals use a generic
formula or model to produce ideas. One such model is the Wallas’ five stage formula. Wallas
(1926), presented one of the first models of the creative process. In the Wallas stage model,
creative insights and illuminations may be explained by a process which consists of 5 stages:
 Preparation- preparatory work on a problem that focuses on the individual’s mind and
explores the problems’ dimensions.
 Incubation - where the problem is internalized into the unconscious mind and nothing
appears externally to be happening.
 Intimation - the creative person gets the ‘feeling’ that a solution is on its way.
 Illumination or Insight - this is where the creative idea bursts forth from its preconscious
processing into conscious awareness.
 Verification- where the idea is consciously verified, elaborated and then applied.

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Creativity is an essential element of problems (Mumford et al, 1991) and of critical thinking
(Abrami, 2008). We all solve problems on daily basis in academia, at work, church and in our day
to day lives. Problem- solving has been defined in several ways. One simple yet meaningful
definition describes a problem as a need which must be met (Ritz et al 1986). This need could
come from agriculture, sanitation, fashion or health. How important is problem solving in
creativity? Few would argue that teaching problem solving is unimportant in any field. Problem
solving is a higher level of thinking skill. We need to be able to evaluate data or information, break
them down into key components, consider various ways of approaching and resolving them in the
most appropriate way. Problems can also be opportunities: they allow you to see things differently
and to do things in a different way and perhaps to make a fresh start. There are many creative
problem solving (CPS) models ranging from four to eight stages. Some of these models have
already been examined under the creative process. The process of critical thinking requires a
complex combination of elements that include cognitive flexibility, memory control and analogical
thinking, enabling the mind to free- range and analogize as well as to focus and test. It allows
individuals to gain a more complex understanding of information they encounter and provide good
decision-making and problem solving in real world applications (Butler, 2002). Facoine (2011,
p.26) says it is a “purposeful, selfregulatory judgment which results in interpretation analysis,
evaluation and inference, as well as explanation of the evidential, conceptual, methodological,
criteria logical or contextual considerations upon which that judgment is based”. Sumner (1906)
has explored the notion that critical thinking can occur whenever one judges, decides or even
solves a problem. Sumner further says that, in general, whenever one must figure out what to
believe or what to do, and do so in a reasonable and reflective way. Speaking, writing, reading,
and listening can all be done critically or uncritically. He says further that critical thinking is a way
of taking up the problems of life. Critical thinking and problem solving skills are key skills that
students in higher institutions must acquire and constantly apply in solving problems in various
fields. Critical thinking which links to heightened individualism which Le Cornu (2009) considers
is not so prevalent and suggests that education at all levels should train people in three principal
types of thinking and reflection namely: receptive, appreciative and critical.

LITERATURE REVIEW

Teaching and learning are opposite sides of the same coin, for a lesson is not taught until it has
been learned (Farrant.1980). “Learning is the process by which we acquire and retain attitudes,
knowledge, understanding, skills and capabilities that cannot be attributed to inherited behaviour
pattern or physical growth” (Farrant, 1980 p.105). Teaching and learning is an activity of imparting
knowledge, skills, attitude and idea from one person to another (Banahene and Sarfo, 2010).
Banahene and Sarfo explained that the person engaged in the act of impartation are the teacher and
the person receiving the knowledge, skills, and attitude is the learner. It is expected that once the
teaching activity takes place, there should be change in the knowledge base of the learner, in other
words, teaching is said to result in learning. Teaching is a skill tutors should have, to be able to
transfer knowledge effectively and efficiently. Hence, a teacher needs the skills to be able to
deliver his/her lessons. The American Psychological Association (2011) defines the term teaching
skills as contained in the ‘ready to teach Act’, H R 2211 as “skills that are based on scientifically
based research; enable teachers to effectively convey and explain subject matter content; lead to

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increased academic achievement; uses strategies that are specific to the subject matter; include on-
going assessment of students learning, focus on identification and tailoring of academic instruction
to students specific earning needs; focus on classroom management”. Classroom management also
called classroom discipline has been a priority for teachers. Amoakohene (2008) said, classroom
management involves the direction of human activities and since teachers direct the teaching and
learning activities, they are considered managers and they need to organize, co-ordinate, control,
communicate and lead the students.
Farrant (1980) further explained that each type of learning goes by a different name: Affective
learning- has to do with feeling and values and therefore influences attitudes and personalities.
Cognitive learning-is achieved by mental process such as reasoning, remembering and recall. It
helps in problem solving, new ideas development and evaluation. Psychomotor learning- has to do
with development of skills which require efficient coordination between our brain and muscles.
Farrant (1980) says teaching can be thought of as a process that facilitates learning. He explains
further that in the process, the teacher has an important role to play because he acts like a catalyst
stimulant. He further explains that by giving careful considerations to such issues like teaching
methods and by supplementing direct teaching in indirect support, the teacher can achieve a total
effect that can extremely be enjoyable of his or her student. With regards to skills acquisition,
Murphy and Moon (1990) are of the view that for a student to be able to understand and remember
anything taught, there should be a connection between practices and teaching of the students.
Wareign Drew and Shreeve (2008) reasoned that there are a number of ways skills acquisition can
be eased. These are as follows: -Budding -In an open studio, students can learn from more
experienced students in a buddy system. Students can either be paired up with a buddy from a year
above or groups can be created from all years of the course. The tutor has to initiate this but once
social bonds are in place, students can teach each other new skills like computer programs, coral
draw, photo-shop and Auto card.

METHODOLOGY

This involved an in-depth review of studies related to the influence of teaching methods on
competence of fashion and design students. The research involved literature search and paper
review of information on teaching methods applies in the teaching of fashion and design. This
article reviewed recorded sources to present the current state of competence of fashion and design
teaching approaches. The study adopted a desktop literature review method (desk study). In line
with Creswell’s assertion that observations are important for obtaining first-hand knowledge that
enriches analysis results, under different themes, the study revealed observations made from the
recorded sources. Where appropriate, the review on how to rethink and reorganize what is being
done to consider effective teaching approaches applicable especially in fashion training was done.
Based on the findings, recommendations will also be raised in reference to the methods
appropriateness.

FINDINGS

Education is a key to the development of every individual, the society and the nation as a whole.
Barrow and Wood (1997) describe education as a process that involves the transmission of
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worthwhile things to individuals in a morally accepted manner. Brown, Oke, and Brown (1985)
state that the main objective of education is to bring positive change to learners and the society in
general. Societies expect all individuals to be educated and to use what they acquire through
education to earn a living as well as contribute to the national development. In Ghana the highest
terminal point of education is the tertiary level. For this reason, lecturers teaching in the tertiary
institutions, especially, technical and vocational career oriented education like fashion and textiles,
are expected to equip students with key skills and knowledge that will make their graduates
employable. The researchers’ willingness to contribute positively toward the improvement of the
effectiveness of their teaching is what informed this study which seeks to evaluate the teaching of
Fashion Design and Textiles Studies in the tertiary institutions of Ashanti, Central and Western
Regions of Ghana and suggests feasible strategies that can be adopted to foster effective teaching
and learning of the programme. The Fashion and Textiles Studies programme is vocational and
technical based, therefore, the students are expected to be trained and equipped with employable
skills, competencies and knowledge that will make them capable of fulfilling the manpower needs
of the nation to earn a meaningful living and contribute to the improvement of the socio-economic
development of the nation. To achieve this, the government of Ghana is increasingly envisaging
skills development of the citizens as an important factor contributing towards enhancing
productivity, stimulating economic competiveness as well as taking people out of poverty
(Amankwa, 2007).
Specialized career and technology oriented courses taught under the Fashion and Textiles Studies
programme include; Pattern Technology, Garment Technology, Fashion Drawing and Illustration,
Textiles, Creative Design and Working Drawings, Millinery and Dress Accessories, Clothing
Production Technology, History of Fashion, Beauty Care and Culture, Fashion Marketing and
Merchandizing, Industrial Attachment, Business Law and Projects (Accredited syllabus for HND
Fashion Design and Textiles Technology, 2007). Currently, special emphasis is being put on the
study of Technical and Vocational Education at the tertiary level with the hope that, relevant and
key skills would be acquired to enable graduates from such institutions contribute to the socio-
economic development and progress of the nation (Amankwah, 2007; Ministry of Education,
2003). Writing on concept of teaching and learning Olaitan (1994) describe teaching as an attempt
to bring about desirable changes in human abilities and behaviours. Farrent (1990) affirms that
teaching is a process that facilitates and enhances change in behaviour of learners adding that it
requires someone with a professional skill to transfer skills and knowledge to learners. These
writers express a common view that, teaching brings a change in behaviour of the individual.
Studio activities such as demonstration and practical works that involves development of
psychomotor skills are important examples of strategies that bring about change in behaviour of a
student (Cock and Hughes, 1995). Brown et al (1985) attests that the principal stakeholders
involved in the teaching and learning activities are the teacher and the learner. It is the teacher who
imparts the knowledge, skills and competencies to students, and it is the students’ duty to acquire
these and make meaningful use of them. Hence, the teacher’s ultimate task is to influence and
facilitate effective learning in students.
Learning can be an in-born trait or an acquired art by the individual, leading to the postulation of
many theories of learning. One of the learning Models that are employed in many Institutions of

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Learning is the Facilitation theory (the humanist approach). Carl Rogers and others have developed
the theory of facilitative learning. The basic premise of this theory is that learning will occur by
the educator acting as a facilitator; that is by establishing an atmosphere in which learners feel
comfortable to consider new ideas and not threatened by external factors (Laid, 1985). This theory
is predicated on the belief that a person has the natural tendency to learn and this is enhanced by a
facilitative teacher who provides the necessary guidance and right environment for the learner to
acquire knowledge.
The facilitative teacher listens to learners, especially to their feelings. They pay much attention to
their relationship with the learner, apt to accept feedback, both positives and negatives and to use
it as “constructive insight into themselves and their behaviour.” This model or learning strategy
promotes students’ self-confidence and willingness to explore new areas, projects or ideas on their
own. The advantage of this model is that, learners are encouraged to take responsibilities for their
own learning, providing much of the input for the learning which occur through their own
investigation and concentrate on factors that contribute to solving problems. Tutors and students
could adopt the facilitation theory or use other learning models to teach and learn fashion
creativity.
It is pertinent to state that the teacher who fosters critical thinking fosters “reflectiveness” in
students by asking questions that will stimulate thinking; essential to the construction of
knowledge. For students to learn, intellectual engagement is crucial; in that all students must do
their own thinking and make their own construction of knowledge. In summary, it is pertinent to
reiterate that creative work requires applying and balancing three abilities that can all be developed
(Sternberg 1985):
 Synthetic ability is what we typically think of as creativity. It is the ability to generate novel
and interesting ideas. Often the person we call creative is a particularly good synthetic
thinker who makes connections between things that other people do not recognize
spontaneously.
 Analytic ability is typically considered to be critical thinking ability. A person with this
skill analyses and evaluates ideas. Without well-developed analytical ability the creative
thinker is likely to pursue bad ideas. The creative individual uses analytic ability to work
out the implications of creative idea and to test it.
 Practical ability is the ability to translate theory into practice and abstract ideas into
practical accomplishment. The creative person uses practical ability to convince other
people that an idea is worthy. Practical ability is also used to recognize ideas that have a
potential audience. Creativity requires a balance among synthetic, analytic and practical
ideas. The person who is only synthetic may come up with innovative ideas, but cannot
recognize or sell them. The person who is only analytical may be an excellent critic of other
people’s ideas but is not likely to generate creative ideas. The person who is only practical
may be an excellent sales person, but is likely to sell ideas or products of little value.
Encourage and develop creativity by teaching students to find a balance among synthetic,
analytic and practical thinking. Creative attitude is at least as important as are creative
thinking skills (Schank, 1988).

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CONCLUSION

This study examined the effectiveness of the methods and models used in teaching and learning
creativity in fashion in the Technical University and how that could be enhanced to prepare
students to become innovative and creative fashion designers. The research revealed a number of
key gaps in the teaching and learning of creativity. Key amongst them is the use of largely the
traditional methods of lecture, hand-outs and textbook to teach and learn creativity in fashion rather
than the use of evidenced- based critical thinking and problem solving models. The study also
recognized poor students approach to learning creativity; specifically, the nonapplication of
analytical, conceptual and synthesiscal skills in solving problems. It is expedient to re-iterate that
tutors are foremost in the education sector and they make the most difference in knowledge
acquisition. Tutors should therefore continuously improve on their professional knowledge and
practice by exploring creative applications and nurturing students’ creativity at every opportunity.
It is widely believed that tutors who vary their instruction possess more professional expertise and
produce more learning in their students than do tutors who use the same approach to meet all their
learning goals. Research confirms this belief, and professional organizations endorse the need for
instructional alternatives.

RECOMMENDATIONS

The study recommend that lecturers should not solely direct their teaching towards attainment of
good examination results. Emphasis of their classroom activities should be laid on helping students
to acquire key skill that will lead them onto appropriate employment. Relevant work experience is
very vital; hence the need for work placement cannot be overemphasized (Brennan, 2000). Student
should be assisted by their lecturers to take up work placements relevant to their programmes of
study to enable them to acquire additional competency skills from experts in the industry. To
strengthen the teaching and learning of creativity, the following steps could be followed: -
 Model creativity-The most powerful way to develop creativity in your students is to be a
role model. Students develop creativity not when you tell them to, but when you show
them.
 Build self-efficacy: - All students have the capacity to be creators and to experience the joy
associated with making something new. Tutors should not limit what the students can do
but help them believe in their own ability to be creative.
 Question Assumptions: - Creative people question assumptions that can lead to positive or
new ways of doing things. Tutors can be role models for questioning assumptions and
should teach students to question assumptions. Tutors should help students to learn how to
formulate good questions and how to answer them. Make questioning a part of the daily
classroom exchange.
 How to define a Problem-Promote creative performance by encouraging students to define
and redefine problems and projects. Encourage creative thinking by encouraging students
choose their own topics for papers or presentations or choose their own ways of solving
problems.

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 Encourage idea Generation-Once the problem is defined or redefined, it is time for students
to generate ideas and solutions. The environment for generating ideas should be relatively
free of criticism. Aim to identify and encourage any creative aspects of the ideas presented
and suggest new approaches to any idea. Praise the students for generating many ideas,
regardless of whether some are silly or unrelated.
 Allow time for creative Thinking-Most creative insights however do not happen in a rush
(Gruber, 1986). We need to understand a problem and to toss it around. If you want to
encourage creativity, you need time to do it well.
 Instruct and asses creativity-If you give multiple –choice tests, students quickly learn the
type of thinking that you value. If you want to encourage creativity, you need to include at
least some opportunities for creative thought in assignments and tests. The tutor should ask
questions that require factual recall, analytic thinking and creative thinking.
 Encourage sensible Risks-Creative people take risks and defy what is the norm. Creative
people take sensible risks and produce ideas that others ultimately admire and respect as
trend setting. Nearly every major discovery or invention entails some risk.
 Allow Mistakes-When your students make mistakes, ask them to analyze and discuss these
mistakes. Often, mistakes or weak ideas contain the germ of correct answers or good ideas.
 Encourage creative Collaboration-Collaboration can spur creativity. Encourage your
students to collaborate with creative people because we all learn by example. Students
benefit from seeing the techniques, strategies and approaches that others use in their
creative process.
 Teach self-Responsibility-Part of teaching students to be creative is teaching them to take
responsibility for both success and failure. Teaching students how to take responsibility
means teaching students to understand their creative process, criticize themselves and take
pride in their best creative work.
 Grow creativity-Once we have a major creative idea, it is easy to spend the rest of our
career following up on it. Being creative means stepping outside the boxes that we and
others have created for ourselves.
 Reward creative Ideas-Remember to reward creative ideas. Assign a Project and remind
students that you are looking for them to demonstrate their knowledge, analytical and
writing skills and creativity and reward them accordingly.

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