Waiting for the lifts at East Bank in early November, I had a chance meeting with one of my colleagues who is a tutor on the Bespoke Tailoring BA course, Azleen Henry Masih. From previous conversations she knew that I was anxious about having enough time to complete the PgCert, and without prompting she suggested an idea to help – would I like her views on the comparison of Year 1 student work before and after I started Analogue Drawing exercises in Adobe sessions? I was overwhelmingly grateful at her amazing offer, which isn’t out of character; she is such a kind and thoughtful person. I was moved to tears as I rushed to my next session; I was teaching students 6 days a week at that point, and finishing my ARP unit was a journey to an increasingly distant shore. To say I was grateful is a huge understatement! Thank you Az, what a star!
Here is her piece, with no editing:
‘Tailoring Dsign and Identity’ Unit.
Learning Outcomes (LO) and Assessment Criteria
On completion of this unit, you will be able to:
LO 1: Demonstrate an understanding of the client and cultural values of heritage craft. (Enquiry)
LO 2: Execute samples evidencing fundamental technical processes of bespoke tailoring. (Process, Realisation)
LO 3: Draft, cut and construct a bespoke tailored trouser. (Process, Knowledge, Realisation)
LO 4: Analyse a range of authentic research methods and apply them to 2D and 3D design development and product realisation. (Enquiry, Knowledge)
LO 5: Accurately record bespoke tailoring processes and techniques and design narrative. (Communication)
In response, to the value of the analogue drawing activities Steve has delivered, leading to digital presentation, I have selected eight examples of Final illustrations and Technical drawings of student work. Four from the formerly known L4/ Y1 Research, Design and Tailoring unit, where I was part of the academic team, who delivered, developed and mapped the current validated programme of study Tailoring, Design and Identity on BA (Hons) Bespoke Tailoring. The latter unit where we can observe Steve’s contribution.
The selected examples demonstrate a range of ‘passed’ work regardless of grade, for the purpose of diversity in their presentation to best appraise confidence, approach, experimental nature and impact. Aligning these to Learning Outcomes and Assessment Criteria, will give the premise for feedback.
LO 1: Demonstrate an understanding of the client and cultural values of heritage craft. (Enquiry).
There is a clear shift in students stylistic confidence. RDT examples have a sense of naeivety compared to TDI examples. The latter, having developed an appreciation of the context underpinning their vision to promote and celebrate their Research with Fashion forward designs.
LO 4: Analyse a range of authentic research methods and apply them to 2D and 3D design development and product realisation. (Enquiry, Knowledge).
With the support of Analogue drawing activities, the students’ approach to experimentation has encouraged illustrations with stronger contextual realisation, where there is bolder conviction.
LO 5: Accurately record bespoke tailoring processes and techniques and design narrative. (Communication)
The execution of Bespoke Tailoring design details, namely Fastenings, Surface embellishments, Silhouette shapes (expressed through nuances as drapes/folds) and Belt Loops. Demonstrating an approach to holistically communicate details designed with a synergy to the cultural values of the narrative.
From LO 1-4, the impact of the analogue drawing activities, I have observed in our students work, is the elevated quality in fluency of the 2D-3D dialogue of visual communication. It is Steve’s contribution and involvement in immersing himself as a team player within our team, so that we can consolidate our academic vision in formulation, supporting the real-time cohesive delivery of a unit of study, where it is student-centered, with appreciation to each students cultural diversity.