The benefit of these platforms, he says, is that they deliver content that audiences (in this case, students) can interact with, in real-time. In terms of shifting to digital teaching methods, Al-Sayegh said that universities are now “looking to find their place online,” exploring “how to deliver their current curriculum and keep the students engaged.” He says that a key focus area for universities is gaming and game streamer’s platforms such as Twitch and Youtube Gaming. For graduating students their work will be presented in an online Portfolio portal, so the mandatory medium is digital.įashion Designer Juan Carlos Mesa ‘Maison Mesa’ in his atelier OctoSpain.
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With 500 students graduating from London College of Fashion in the coming weeks and no physical platform to showcase their work, the relevance of this 3D software to create virtual garments can’t be overstated. As a graduate with pattern-cutting qualifications from London College of Fashion and Central Saint Martins, and having taught pattern-cutting to fashion design students, I can attest to there being no formal provision for educators to be trained on these digital design solutions-most educators with Clo3D or similar software skills appear to be self-taught. Membery is an experienced pattern-cutter having worked at Alexander McQueen, Jasper Conran, and several other brands, and has just commenced learning 3D fashion design software himself.
Samuel Membery, a Fashion Design Lecturer at London College of Fashion offered further insights during a recent panel discussion, saying that pre-Covid-19 none of his fashion design students were exploring digital design software, including Clo3D, but now “around 50%” are trying it out. Therefore, a new breed of a digital and technical designer will be needed to serve a fashion industry now aiming to deliver end-to-end digital fashion from design to showroom, as described by Burak Cakmak, Dean of Parsons School of Design, during the Fashinnovation Worldwide Talks earlier this month.
One problem with this segmentation is that the digital software solutions mentioned require the amalgamation of both discplines. pattern-making and garment construction) disciplines of fashion creation. Currently, learning software like Clo3D and it’s rival, Optitex, is optional for fashion design students, however it is part of the curriculum for garment technology students, and herein lies the long-term distinction between the ‘creative’ (ie. The industry is hurtling towards digital transformation and Al-Sayegh explained that he and the DLL team are helping students who elect to learn digital design and coding, the skills they need to drive new fashion industry solutions and experiences. But why isn’t this the norm in terms of teaching? In fact, through the university’s Fashion Innovation Agency, students can work in groups on elective industry projects to learn and use these software and hardware tools to create and showcase industry solutions, which may then be adopted commercially. The lab offers students support for learning and creating both products and experiences, using software and hardware, including Clo3D for digital fashion design (explored extensively in this previous article ) and augmented reality headsets, including Microsoft I spoke to Mouhannad Al-Sayegh, a Creative Technologist at the London College of Fashion, who is based in the University’s Digital Learning Lab (DLL) to hear how students are utilising new technologies. Why? And what is the consequence of this for graduates?
While the tools of communication have become digital in the past decade or so, the creative process of the designer graduates remains resolutely manual.
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In terms of fashion education, the world’s most renowned colleges, including Parsons School of Design in New York, and London College of Fashion and Central Saint Martins, also in London, maintain an approach for fashion design teaching rooted in the core manual skills of drawing and illustration, paper pattern-making and draping fabric on mannequins.