The lost art

Increasingly traditional forms of fashion craftsmanship are being over taken by modern methods of training. But does this mean students are no longer able to learn from their mistakes? Samantha Docherty investigates.

As technology takes over our daily lives, many traditional methods of TCF production are being discarded to cater to fast fashion. Elements of TCF training are also being tailored to fit these changing needs; But in doing so, the question needs to be asked will the industry lose certain methods of traditional craftsmanship and education forever?
UTS fashion and textiles course director Alison Gwilt struggles to offer a definitive answer.

Gwilt says that defining what 'traditional skills' actually are and who should be ensuring students are being trained in these areas is often contestable.

It's important for students to be up to date with new technologies like digital printing and computing, she says, but it's also essential for students to learn and appreciate traditional methodologies such as couture production and hand-drawn illustration.

"There's an appreciation that comes with understanding the process of craftsmanship. Often labour intensive and of a high quality, products made using traditional techniques often have a longer shelf life. It is important students realise products can last longer than six months.

"It would be nice to think that our graduates can be responsible designers and help change our societies terrible throw away habits."

Arguing there are many businesses who cannot afford to keep up with new technologies, Gwilt says these companies rely on graduates with good craftsmanship skills to help them keep their businesses afloat.

"One would hope that if the industry is losing particular skills, that institutes like ours are being informed so we can complement our educational training. If technology is too expensive or problematic, then having employees who are trained in traditional methods would certainly be advantageous."

RMIT fashion programs manager Tina Guglielmino argues that when it comes to education, providers have to move forward with the times to reflect evolving students' lifestyles.

Teaching traditional methods of drape and flat patternmaking, RMIT also teaches patternmaking and grading through computer programs Gerber and Lectra.

"Universities are leading the way in electronic learning. Using new research sources to teach we're changing with the times using mobile phones, computers and the web", says Guglielmino. "Teaches are even texting students if there are class changes or assignments due - it's a new language of learning."

Introducing methods including E-Learning and Blended Learning (a mix of digital, video, electronic, practical and face-to-face methods) into the classroom, subjects such as patternmaking have a face-to-face component but also a digital element.
"Teachers are using electronic aids, linking to websites for research and downloading in-class work online so students can revise their work at home. E-learning and Blended Learning is becoming more popular as it delivers a successful mode of teaching to suit today's lifestyle", says Guglielmino.

Agreeing teaching students to recognise the benefits of modern methodologies is an asset to their education, Gwilt says it's important to keep abreast of new developments when working in the industry.

"Digital printing could be perceived as a 'clean' method of textile production. I think it's of most benefit to have graduates who are flexible in their approach, are quick thinkers, problem solvers and have experience and knowledge of both traditional and modern methodologies."

One of the few traditionalists left in the industry, Sydney TAFE's Fashion Design Studio head Nicholas Huxley believes there are many important things to be learned from traditional teaching methods.
This is particularly true in design, illustration and patternmaking, Huxley says.
"[Students] grasp so much more from learning from scratch and not cutting corners. It's about investigating and learning by mistakes. We don't do grading with computers.
"I was a student in the course many, many years ago and there's not a design I couldn't do the patterns for because I learned the traditional way. This needs to be carried on, there are so many facets that could never and should never be changed.

Huxley says modern educational training tends to be less hands-on and "lacks tactility".
"It's all so computer and internet based...which I find can be very scary as so much of it lacks character. Fashion design has so much to do with touch, expression and character. There are many less skilled designers, patternmakers etc these days...so much is about being commercial and copying. Of course the other side is that computer work looks very professional and can hide a multitude of sins."

Agreeing there are less traditionally skilled industry specialists today, shoemaker Andrew McDonald says less skilled craftspeople mean more reliance on businesses to train their own staff.
Designing made-to-order and ready-to-wear shoes using traditional European handcrafting techniques, McDonald also runs shoemaking courses teaching skills that develop self-reliance and independence from machinery.
He argues that at his level [of the market] it doesn't make sense to use large scale industrial machinery. It is more a matter of adapting traditional skills to fit current market demands.

"At the moment current demand for traditional hand shoemaking is high, but TAFE colleges have been slow to respond and are quite often not resourced or skilled to teach hand-making methods. There is no interface or links with the industry as it exists today. This has directly impacted students who train with my company [then] attend TAFE footwear courses and find their course experience frustrating."

Disagreeing, Guglielmino says if students are interested in studying a more hands on craft such as shoemaking, it's usually for personal interest rather than training for the industry.
"There's not a great demand for such traditional methods in the industry. Beading and embroidery are not part of our curriculum either. Years ago there would have been an elective available but now it's only being taught as a hobby. Most beading and embroidery is now produced in India and China so there's no need to teach the skills here. We can still teach the craft of making a shoe but now it's through electronic learning."

With the belief traditional training methods provide participants with industry skills that can be adapted and applied to a multitude of diverse areas, Elizabeth Bence, director and principal of the Elizabeth Bence School of Fashion says skills in manual grading/marking can be easily transferred to technology but questions whether the reverse is the case.
"Modern education is much faster but not as technical and detailed as traditional training. The principles of design and patternmaking learned by traditional methods can be easily transferred to all modes of design and patternmaking."
Providing one-on-one tuition in an intimate fashion couture environment, Bence feels her expertise in teaching such methods as Moulage (a French form of drape) cannot be gained by any other means than traditional, hands-on, practical training.

"Our graduates are competent in the required knowledge and practical application of manual skills in every facet of the fashion design industry."
Also using traditional methods to design one-off creations, milliner Louise MacDonald says demand for traditional design is high in the millinery world as it's generally viewed as more valuable.
"The principle disadvantage to using only modern techniques is duplication of lines and accents. There can be less uniqueness and loss of character in a mass produced hat - especially when most clients are wearing their hat to the same event such as Melbourne Cup."

Running recreational short courses in millinery, MacDonald feels a lack of materials has contributed to fewer traditionalists in headwear.

"Moreover, many materials that traditionally played an important part in millinery are not readily available. The milliner is forced to either improvise - and sometimes not too successfully - or abandon certain materials in favor of modern ones.