Assessment of Creativity in Apparel Design

Kidd, Laura K.; Workman, Jane E.

doi:10.1177/0887302x9901700106

Cited by 19 publications

(14 citation statements)

References 21 publications

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“…In this formulation, creativity is not an innate endowment, a once-and-for-all fixed entity; it is incremental and malleable and can be learned. Thus, in order to realise the creative potential of all individuals and to boost competitiveness in the knowledge economy, we must make radical changes to the education system (Kidd & Workman, 1999). The fact that creative thinking is grounded on knowledge of prior work in one's field is the justification for teaching the history and fundamentals of a particular field as a resource for future research and creative work.…”

Section: Literature Review 21 Creativitymentioning

confidence: 99%

Creative Design and Working Drawing: Challenges of Fashion Design and Textile Students in Technical Universities in Ghana

2020

ADS

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Creativity is an integral and essential part of the fashion design process. Without creativity in design, there is no potential for innovation, which is where creative ideas are applied and transformed into commercial value. The purpose of the current study was sought to identify the challenges student face in Creative Design and Working Drawing and suggest measures that can make the teaching and learning of the course meaningful and effective. The descriptive survey research design was employed as the research design for the study. Questionnaires were the primary data collection instrument. The target population was all students at Ho Technical University. Using purposive sampling technique, a total of 122 students were sampled to participate in the study. The study found that students at the Technical university level find it difficult to perceive the main features of the source of inspiration and immediately link those features to design elements in the fashion domain. It was also discovered that the study found that students have challenges regarding the originality of creative designs as they emerge and how they can enhance creativity during the actual process of apparel design. It was observed that the difficulties encountered by the students relative to their creative design and drawing competencies could be attributed to the unavailability of modern studios with the state-of-the-art architecture that can support practical training of the course. Hence imperative that infrastructural improvements remain critical to the sustainability of the Fashion departments.

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Section: Literature Review 21 Creativitymentioning

confidence: 99%

Creative Design and Working Drawing: Challenges of Fashion Design and Textile Students in Technical Universities in Ghana

2020

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“…Because the apparel industry changes rapidly, the teaching of new information about emerging issues impacting the industry has been emphasized in the AD curriculum. This essential new information includes sustainable design practices (Gam & Banning, 2011;Pasricha & Kadolph, 2009), 3D simulation technology (Park, Kim & Sohn, 2011), and encouraging creativity by using vivid imagery (Kidd & Workman, 1999). Implementing new information helps students to become agents of change (Pasricha & Kadolph, 2009) and increases their motivation to overcome challenges (Gam & Banning, 2011).…”

Section: Teaching Strategies For Apparel Designmentioning

confidence: 99%

A Collaboration to Teach Students to Utilize Historic Dress as Inspiration for Apparel Design

Gam

Banning

2012

Family & Consum Sci Res J

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Historic dress is often used by apparel designers as a source of inspiration for new designs. However, using historic information as a source of inspiration in designing has been taught separately in apparel design (AD) and fashion history (FH) courses. To help students expand their creativity in AD, two university instructors decided to collaborate on a project linking historic dress and AD. The instructors prepared and presented teaching materials and assessed related projects for the required courses in Apparel Design and Fashion History. To assess students’ learning and satisfaction, the instructors developed prequestionnaires and postquestionnaires based on Lamb and Kallal () Functional, Expressive and Aesthetic (FEA) Apparel Design Framework. Responses to the prequestionnaire showed that students lacked awareness and information about using historic dress as inspiration. Responses from the postquestionnaires revealed that students looked at historic garment details, colors, and silhouettes and interpreted them in a modern way. Students said that additional benefits were that the exposure to historic dress increased their creativity, helped them understand FH, and helped them connect their course work in Fashion History and Apparel Design.

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“…An apparel designer is assumed to require a high degree of creativity to be successful (Kidd and Workman 1999;Sinha 2002). Creativity is essential both for apparel designers and the marketplace because it provides for innovation, which leads to a company's success in the competitive apparel business and sustained competitive advantage (Malem 2008).…”

Section: Creativity In Apparel Designmentioning

confidence: 99%

Technology, Tradition, and Creativity in Apparel Designers: A Study of Designers in Three US Companies

Bye

Sohn

2010

Fashion Practice

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Traditional design practices can be difficult to support in a digital world where information is abundant and instantaneous. Though apparel has a long tradition as a hands-on field, designers are increasingly using more CAD and Web technology for speed, accuracy, and cost savings. However, the need for innovation is critical for apparel companies to succeed in a market that has little differentiation. Finding a way to nurture a designer's creativity is an investment in human resources. This research explores the relationship between technology use, use of traditional hands-on methods, and the level of creativity in apparel designers.Twenty-nine apparel designers from three apparel companies responded to a survey to report use of technology or hand methods at work and home and also completed the Abbreviated Torrance ® Test for Adults as a measure of creative ability. Results indicated that designers with the highest creativity level (7) participated in more diverse activities at work and at home, engaging in more cultural/learning experiences. Maintaining a work-and lifestyle that supports an environment of exploration may be related to higher creativity levels. It was important to many of these designers to find a balance between the demands for speed and accuracy that are so essential to get work done in a timely manner and the need to carve out time for play and exploration that nurtures the ability to generate new ideas.

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Assessment of Creativity in Apparel Design

Cited by 19 publications

References 21 publications

Creative Design and Working Drawing: Challenges of Fashion Design and Textile Students in Technical Universities in Ghana

Creative Design and Working Drawing: Challenges of Fashion Design and Textile Students in Technical Universities in Ghana

A Collaboration to Teach Students to Utilize Historic Dress as Inspiration for Apparel Design

Technology, Tradition, and Creativity in Apparel Designers: A Study of Designers in Three US Companies

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