on pedagogy & curriculum:
For this assignment, I will be focussing on VCE Product Design & Technology Unit 1, Area of Study 2 as my chosen study design curriculum. I will be particularly exploring how fashion design and garment production can be applied through this context and the lens of sustainable practice.
The Australian Curriculum prioritises sustainability as a key area of focus, emphasising its relevant content across all subjects and learning areas (ACARA, 2018). By prioritising Sustainability, students gain an understanding the interactions between social, economic, and environmental systems that sustain human life, can recognize and respect diverse perspectives and values and engage critically and creatively in finding solutions for more sustainable living (ACARA,2018). Engaging students in this social justice approach can actively address key values such as respect, dignity, tolerance and relationships that are guided by a Behaviourism pedagogical approach by the teacher (Nobile et. al, 2020). To further align the design process to a theoretical approach, a teacher could draw from Humanist philosophies, such as Bonsiepe’s notion that the true mission of design is shifting the focus away from the discriminated, economically disadvantaged groups and towards sustainability and usability (Bonsiepe, 2006, p.30). ACARA (2018) contends that our Sustainability curriculum has been designed with three key concepts of: systems, world views and futures, which are woven across cross-curriculum learning areas to shape future generations to have a positive impact across local and global communities towards a more ecological and socially-just world through action, knowledge and skills.
This unit focusses on collaborative practice as a key skill within Product Design & Technology.Pedagogical practices can be derived from other disciplines that also focus on group collaboration to inform the teaching and learning process, such as employing Vgotsky’s Zone of Proximal Development (ZPD), Inquiry-based Collaborative Learning or Differentiated Learning (Edelkoort, 2015). For example, establishing a ZPD can be beneficial for those students who may be less independent than others in confronting challenges within their own creative process, therefore tackling a challenge with the assistance of others through collaborative design practice can be more beneficial in learning outcomes for all involved (AITSL, 2017). Furthermore, AITSL (2017) emphasises that cognitive development occurs when social interactions are based on intersubjectivity as students generate a common understanding and learn to communicate effectively. [I expand on the implementation of collaborative practice in another section of this website]
The Australian Curriculum: The Arts offers opportunities to explore artmaking, designing and responding for students to engage in shaping cultural practices, social systems, and human-environment relationships (ACCARA, 2018). Product Design and Technology students can become advocates for sustainable living patterns through creative expression and collaboration.UNESCO advocates that Education for Sustainable Development (ESD) should “empower learners to take informed decisions and responsible actions for environmental integrity, economic viability and a just society, for present and future generations, while respecting cultural diversity…. It achieves its purpose by transforming society” (UNESCO, 2019). Radclyffe-Thomas et.al (2024) reports that data from students show that an understanding of the approach is just as important as the subject matter of fashion sustainability itself, thus education needs to focus on design strategies to address the issue of overconsumption, design solutions for longevity with how to implement ethical environmental and social considerations during production.
why sustainability in design?
Evidence shows that the fashion industry is one of the most polluting industries in the world, however applying sustainable fashion practices can have a significant impact in reducing environmental impact (Pires et.al, 2024). Conventional fibers such as cotton, silk, jute, flax, and polyester contribute directly to ecotoxicity, excessive water usage, depletion of fossil fuels, global warming and industrial land use (Karpova et.al, 2022).The textile and apparel industry is struggling with significant environmental and social challenges. It accounts for approximately 8-10% of global carbon emissions, 20% of industrial water usage, and 35% of ocean microplastic pollution. Additionally, it consumes large amounts of resources, particularly water, and produces vast quantities of waste (Hur & Beverley, 2023).
Whilst the United Nations started to prioritise the concept of sustainability as a main area of development in 1992, the concept of sustainable fashion products is not understood well; evident in the consumption of fast fashion (Orminski et.al, 2020). Ritch (2015) expresses concern that generally consumers still have little awareness of the environmental harm that fashion production produces, and that their own environmental beliefs have great influence over their intentions to buy ethical products or sustainable fashion. ‘Environmental consumer knowledge’ refers to the comprehension of various environmental aspects, including how purchasing decisions affect ecological contexts, recognition of eco-labels, awareness of environmental challenges in specific sectors like clothing and food production, and the capacity to make informed decisions considering environmental factors (Taufique et.al, 2017)
The concept of ‘slow fashion’ can be aligned with ‘sustainable fashion’ through the sentiment that ““caring for producers and local communities for sustainable living (equity and localism); connoting history for sustainable perceived value of the product (authenticity); seeking diversity for the sustainable fashion world (exclusivity); and maximizing product life and efficiency for a sustainable environment (functionality)” (Jung & Jin, 2014, p. 510). With a slight difference, circular economy is about designing for longevity, repairing, reusing and recycling to optimise the material and energy used to make it so that waste turns back into a valued product (Karpova et.al, 2022).‘Sustainable innovation’ as an umbrella term integrates environmental, social, and economic factors into company systems, from idea generation to commercialisation, and addresses not only economic and environmental aspects but also social and ethical considerations (Hur & Beverley, 2023). Teachers should make students aware of intergovernmental and NGO organisations such as the United Nations Alliance for Sustainable Fashion (UNASF, 2020), Labour behind the Label, Fashion Revolution, Greenpeace, Australian Fashion Council, Seamless clothing stewardship scheme. Furthermore, a knowledge of governmental policies and frameworks such as APS Net Zero 2023 strategy, National Climate Resilience and Adaptation Strategy and Sustainable Governance Indicators (DCCEEW, 2022)This article, featured in the Guardian, was quite a thought-provoking read as it made me consider how many misconceptions there are regarding sustainability and consumerism. Bryce (2021) points out that plastic is found in two-thirds of our clothing, but many people are unaware of its presence. Synthetic fibers like polyester, nylon, and elastane make up 69% of clothing, with polyester alone accounting for 52% of global fiber production. While synthetic fibers are valued for their durability, they contribute to environmental issues by shedding plastic microfibers into the environment during washing.Bédat emphasizes that real change requires shifting away from consumer-driven solutions. Instead of buying into sustainability claims, individuals should view themselves as citizens capable of making ethical and political choices to address the broader issues in the fashion industry.
When considering fashion in the context of VCE Product Design and Technology units, students must view ‘fashion’ as a design discipline rather than purely as a conceptual art form; perhaps drawing from Alexander Christopher’s 1964 definition that it is a process that is about discovering and assembling sequences of actions to solve problems (Michl, 2009). From another perspective, Simoes & Silva (2016) assert that fashion design is related to the tangible products of everyday life, therefore its functionality is focussed on the experience of the user and not only grounded on the notion of consumption. This insinuates that fashion design is aesthetical and experiential, however still has a functionality, which in this case is the wearer themselves.
Charter & Tischner (2017) emphasise the central role designers play in innovative approaches towards ESD by suggesting a ‘triple-bottom-line’ approach that considers a balance of environmental, social and economic aspects in designing towards a product’s final goal. Hur & Beverley (2023) also contend that idea generation can have one of the biggest influences on the value and sustainability of a product, emphasising the focus of sustainable innovation tools in the ideation stage of the design process. Kozlowski et.al (2018) defines the concept of sustainable innovation via system and level approaches to environmental, social, economic, aesthetic and cultural.
As the PDT Unit Design prescribes, the design process that the students undertake should be grounded in the Double Diamond design approach. This is exemplified in the worked example (folio) which suggests that students gain a comprehensive understanding of how to apply it within their creative process. Unit 1, AOS2 outlines that activities and purposes should be focussed within the second diamond of this approach as it requires students to “generate and design physical product concepts, produce and implement, evaluate and plan and manage” as part of the key knowledge (VCAA, 2023, p.22).
British Design Council’s (2005) ‘Double Diamond’ Framework integrates the divergent and convergent stages of the design process and consists of:
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Discovering and exploring insights into the problem
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Identifying gaps to focus on the issue
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Developing potential solutions to resolve the identified issues
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Delivering a solution that has real-world application
Another suggested framework for students to guide them through the design process for sustainable design solutions is IDEO’S 3I Model which focuses on the areas of ‘Inspiration’, ‘Ideation’ and ‘Implementation’ which encourages real-world implementation and collaborative practice (Falvo et.al, n.d.).
This site includes two worked examples to demonstrate the creative process that has relevancy to both students and teachers in addressing both the theoretical (folio) and practical (garment) aspects of product design for VCE Product Design and Technology. Additionally, I have included a page of resources designed for self-directed learning, in a flipped-education approach, correlating to the areas explored to extend students’ knowledge.
on the creative process:
“There is no ‘right’ way to approach design; there are no ‘wrong’ turns. Everything matters. Designers are problem-solvers. Problems present challenges that require solutions and these often lead to the most original design, or at least one the designer hadn’t thought of initially. Mistakes must also be embraced for they often lead to the most glorious discoveries that one could not have predicted, yielding fresh concepts that drive silhouette and form forward. Innovation often happens on the heels of error in the midst of chaos and complexity” (Dieffenbacher, 2012, p.10)