The Role of Reflective Practice in Integrating Creativity in a Fashion Design Curriculum Bernie Murray Lu Ann Lafrenz
Creativity research launched reflective practice resulting in curriculum enrichment. The authors incorporated creativity into the curriculum to improve their effectiveness as teachers and positively affect students’ learning. In this article the authors shared their reflective experiences including colleagues’ collaborations, student feedback, and a review of theoretical literature. Introduction Reflective practice is a vehicle that allows teachers the ability to explore, contemplate, and analyze experiences in the classroom. Reflecting on experiences helps individuals improve their actions and professional practice (Kolb, 1984; Schön, 1983). According to Osterman and Kottkamp (1993, p. 19), “reflective practice is a means by which practitioners can develop a greater level of self-awareness about the nature and impact of their performance.” This awareness of one’s performance makes individuals think about and mull over their experiences, classroom activities, and assignments, leading to improved practice. In this study the authors share their reflective experiences including colleagues’ collaborations, student feedback, and a review of theoretical literature. Brookfield’s (1995) four critically reflective lenses: autobiographies as teachers and learners, students’ eyes, colleagues’ experiences, and theoretical literature were used to triangulate the data sources. To establish a framework of reflection, the authors reviewed various models of the reflective process. The reflective process the authors applied in this study was Peters’ (1991) four-step process that included: describe, analyze, theorize, and act. Coauthor Murray (2004) conducted a research study entitled Perceptions of Creativity in a Fashion Design Course. As a result of engaging in creativity research, Murray started to reflect on creativity, student learning, and the classroom. The intent of Murray’s reflective practice was to incorporate creativity into the curriculum to positively affect students’ learning. Thus, Murray’s creativity research served as a catalyst for this study that attempted to answer the question, “What role did reflective practice have in integrating creativity in a fashion design curriculum?” The premise of this paper is to demonstrate the importance of reflective practice in curriculum development. Lafrenz and Murray suggest that their reflective activities presented in this paper are supported by qualitative data solicited anonymously from students’ survey responses. The data gathered produced indicators leading to possible conclusions that the curriculum changes had a positive affect on students’ learning.
Reflection was the major focus of the methodology and theoretical grounding of the study. Teachers use reflection to facilitate their own learning as well as for the facilitation of students’ learning. According to Sch ö n (1983, 1987), reflective practice is the integration of theory and practice, a critical process in refining one’s artistry or craft in a specific discipline and bringing to the conscious level those practices that are implicit. Schön further describes the reflective practitioner as not just skillful or competent, but thoughtful, wise, and contemplative. Two types of reflection facilitate professionals’ learning: reflection-in-action and reflection-on-action (Schön, 1983, 1987). Reflection-in-action occurs during the activity; the activity is reshaped while in progress. Reflection-on-action occurs either following an activity or when an activity is interrupted, a retrospective thinking about an experience. According to Kottkamp (1990), reflection-on-action takes place after an activity and an analysis with the potential assistance of others. Reflection-on-action brings about an understanding of practice and is a way practitioners may learn from their experience (Clarke, James, & Kelly, 1996). Reflection-on-action was the type of reflection the authors utilized when bringing to the surface their practice and beliefs to be examined, critiqued, and developed.
Schön (1991) identified three stages or levels of reflection: conscious reflection, criticism, and action. Boud et al. (1985) presented a four-stage model of reflection: analyze, interpret information, prepare an evaluation report, and prepare an action plan. The four-stage model focused on the behaviors, ideas, and feelings that comprise experience. Atkins and Murphy (1993) conducted a literature review of educational theorists that analyzed processes of reflection. Based on the commonalities of the authors cited, Atkins and Murphy developed a three-stage reflective process that included awareness, critical analysis, and reflection. Peters (1991) described a four-step process called DATA: describe, analyze, theorize, and act. In the first step, the critical aspect of practice was described. The second step included the identification of assumptions that supported practitioners’ current approaches and underlying beliefs, rules, and motives governing teaching and learning. In the third step, practitioners theorized about alternative ways to approach learning, taking theory developed from the previous step, and creating a new theory. In the fourth step, the practitioner tested the new theory. Success of this process would occur only through additional thought and reflection. The reflective cycle by Rodgers (2002) encompassed Dewey’s (1933) conception of reflective thought. Rodgers illustrates reflection as a cyclical process comprised of four phases:
According to Rodgers, practitioners move forward and backward through the reflective cycle, especially between description and analysis. After reviewing the literature and various models, Peters’ (1991) four-stage reflective process was chosen because the authors could see how to apply the reflective process in the context of the fashion design program. In the first step, Murray described the critical aspects of her practice from a teacher’s and then a student’s point of view. In the second step, Murray identified assumptions that supported her current approaches and underlying beliefs, rules, and motives governing teaching and learning, specifically related to creativity. In the third step, Murray theorized about new ways to approach or incorporate creativity in her courses and collaborated with Lafrenz in the team skills course. The new theory was tested in the fourth step when the implementation of creative activities, assignments, lectures, and assessments was incorporated in the courses and student feedback was solicited. Then the authors considered whether changes that were made were beneficial to the students and the curriculum. Teachers reflect because they want to improve their teaching experiences and the learning experiences for students. The reflective experience helped the authors of this study to see that creativity existed in the course content and identify areas that needed to be developed. A number of researchers state the importance of reflective practice. As a result of engaging in a reflective process, individuals acquire knowledge and understanding (Clarke et al., 1996; Schön, 1983), learn from their experiences (Kolb, 1984; Schön, 1983), apply knowledge to practice while being coached by professionals in the discipline (Schön, 1996), and explore assumptions they bring to the workplace (Brookfield, 1995). As reflective practitioners, teachers gain a deeper understanding of their teaching approaches and effectiveness as teachers.
This study attempted to answer the question, “What role did reflective practice have in integrating creativity in a fashion design curriculum?” The participants were 114 undergraduate students enrolled in a fashion design program. Participants included second-year students in Murray’s draping course and third-year undergraduate students enrolled in Lafrenz’s team skills course. The ages of the participants ranged from 19 to 26 years. The method of data collection was a survey. Approval was obtained from the ethics board and participation for this study was solicited by using a verbal script. A third party administered and collected the completed surveys so the participants and nonparticipants would remain anonymous. Two open-ended questions were included in the survey for the participants to express ideas or experiences about creativity and teams. The open-ended questions included:
The authors in this study view teacher research as an important methodology offering practitioners insight into the application of theory to practice. The approach used focused on reflection and teaching practices as a process of research. The authors shared the goal of incorporating opportunities for creative development into the curriculum and explored this goal through Peters’ (1991) four-step reflective process. Brookfield (1995) describes four critically reflective lenses or activities in which reflective practitioners engage: autobiographies as teachers and learners, students’ eyes, colleagues’ experiences, and theoretical literature. Brookfield’s four lenses were used in this study to triangulate the data sources. Triangulation, using more than one method strategy to interpret the phenomenon, was employed in this study by combining teachers’ reflections, colleagues’ experiences, student surveys, and theoretical literature.
Teachers’ professional development stems from classroom experiences (Day, 1993; Rodgers, 2002; Schön, 1983). Research on teaching and learning is important for teachers’ development; however, the basis for reflection is practitioners’ experiences as teachers and learners (Rodgers). Kolb (1984) proposes that learning from experience occurs in a cyclical fashion; in other words, experiential learning. The authors in this study explored their practices and beliefs through systematic and collaborative reflections of teaching and learning in their classrooms. Autobiographies as Learners and Teachers Analysis of autobiographies as learners and teachers was the starting point used by Murray to begin the evaluation process. Through the autobiographical lenses of self-reflection, Murray saw the effect personal experiences as a learner had on how she teaches, the assumptions about how her teaching practices were drawn from those experiences, and the examination of her core beliefs, values, and assumptions about teaching and how students learn. Murray as a learner Creativity research was the catalyst for the authors’ reflective practice leading to changes in the learning environment at a university level program. The coauthor Murray (2004) conducted the creativity research study in partial fulfillment of her Master’s degree, Perceptions of Creativity in a Fashion Design Course. As Murray was conducting the literature review, coding data, and developing themes of the participant responses, she reflected upon her practice and experiences in the classroom. The reflection questions included:
The following were responses to two of the reflection questions answered by Murray: What do I now know more about? Where do I go from here? Murray used reflective practice to examine course content to determine whether opportunities for creative development were present and available for students. The classroom environment was analyzed to determine if barriers existed in the classroom. Assignments and assessment methods were evaluated by Murray to determine whether opportunities to express creativity were present. Murray considered the potential changes from a teacher’s point of view and a student’s point of view. Through the in-depth examination of assignments and weekly topic breakdowns, Murray (2004) determined if various techniques were present that fostered creativity. Opportunities for individuals to be creative may occur if numerous techniques are introduced. Creative individuals have the ability to broaden their perspectives and are willing to experiment if they are able to consider new options or alternatives. Learning various techniques used in a discipline enables individuals to have other opportunities to produce original ideas. In the fashion design program, students learn how to create a variety of apparel garments using several techniques. Draping is an industry method used to develop garments on the dress form. Individuals mould and manipulate fabric on the three-dimensional figure, creating various apparel styles. Students are required to drape basic garments using various techniques and silhouettes. When draping the basic garments, students were learning various principles and techniques. There were few opportunities for students to create original ideas for these garments. Murray wanted to provide situations where students could create original work. Removing guidelines or criteria on some assignments so students could make choices or decisions and develop original work offered one way to encourage creativity. Asking students to create their versions of a technique was another method used to incorporate creative opportunities for students. Showing new techniques to develop apparel garments added to the students’ knowledge and provided opportunities to use new techniques.
Collaboration with colleagues increases the probability that teachers will be successfully reflective and more confident in their professional development (Day, 1993). The teachers in a study by Glazer, Abbott, and Harris (2004) believed their reflections were strengthened by collaboration with colleagues, and furthermore, reflection acts as a catalyst for professional growth. After reflecting on her teaching practice, Murray consulted with colleagues, expressing her views about creativity and ways to encourage students to be more creative in other courses. As a result of Murray’s reflective practice and collaboration, other teachers engaged in reflection. Murray met with coauthor Lafrenz to share information about reflection and her professional practice. Lafrenz was inspired to reflect on the creative aspects of her courses, specifically how creative activities and techniques might be incorporated into a team skills course. Collaborative discussions revealed how to be creative and how creativity could be integrated into lectures, assignments, projects, and marking schemes. As a result of the discussions, Murray was invited to the team skills class to present a lecture on creativity. On a larger scale, teachers within the department began to share ideas, alter assignments, add lectures about creativity, and establish an environment that fostered creative development. The faculty members in the department identified the need for a course on creativity in fashion and enlisted Murray as the course developer. Ultimately, Murray supported and assisted other teachers to implement curriculum changes emphasizing creativity.
Cowan (2004. p. 1) claimed, “Student feedback refers to the process by which students are asked to reflect upon the learning process that they are experiencing or have experienced in order to assist in the further development of our teaching and their learning.” According to Beaty (1997), feedback from students encourages reflection, providing rich data for reflection on one’s professional practice. In addition, students focus attention on the result of a teacher’s work. Beaty recognizes student feedback as having two important purposes. One purpose is to provide an informed impression of how teaching is affecting students’ learning, but not necessarily how to improve teaching. The second is the formulation of a conversation with students in the spirit of partnership in a learning environment. At the end of the academic year, the authors surveyed 114 students from an undergraduate fashion program. Two open-ended questions were included in the survey for the participants to express ideas or experiences about creativity and teams. The students were informed in the verbal script that the survey information could potentially be used to assist in curriculum development. Students work in teams throughout the 4-year program. The open-ended questions included
The responses to these questions were categorized by each of the authors to increase reliability. The students’ responses helped support the authors’ statement that teachers reflecting on their practice positively affected students’ learning in the classroom. There were 114 participants who answered the survey (S 1-114). Participants provided written consent to have their responses included in conference presentations or published papers. Student responses to the survey resulted in the emergence of numerous themes. The following are examples of student responses categorized within their themes. The first question was Describe how creativity affected your performance and experience in the classroom. The following themes emerged from the students’ responses: classroom experiences, ideas, peers, and improved performance.
Ideas
A number of themes related to creative team process emerged from the responses to the second question: Describe how you were creative working in teams. The themes included: brainstorming, problem solving, combining ideas, and seeing things in new ways. Brainstorming
Rodgers (2002) encouraged teachers to value student feedback as critical to understanding students’ learning. Cowan (2004) recognized the importance of students evaluating their learning experiences so that teachers may use the feedback to improve teaching and learning. He stated
In this study the authors utilized theoretical literature in the organization of data sources using Brookfield’s (1995) four lenses: autobiographies as learners and teachers, colleagues’ experiences, students’ eyes, and theoretical literature. The reflective model the authors followed in this study was Peters’ (1991) four-stage reflective process of describing the practice, identifying current approaches and underlying beliefs related to teaching and learning, theorizing about alternative ways, and creating new theory. Brookfield’s four lenses and Peters’ reflective model provided structure for the authors in the completion of this study.
Curriculum development usually emphasizes the instructional activities that represent the educational change with the focus on the product, not on the learning process of the creators. In this study the authors examined their learning process and the learning process of their students as well as the product, and the incorporation of changes into the fashion curriculum. Draping Course Students recreate garments using the draping method after the demonstrations are completed by Murray. Garment criteria are used in the development of the garments including length of the garment or sleeve, number of pleats to add, or shape of a style line. Students use fabric and garment criteria similar to Murray’s in order to complete the assignments. As a result of reflecting on assignments and assessment methods through the teacher’s and learner’s eyes, Murray changed assignment criteria so that students had the opportunity to use a variety of fabrics for assignments and the possibility to give different versions of the same assignment. Students had the option to choose the length of a garment, incorporate embellishments, and create a different version of Murray’s demonstration. Murray now emphasizes creativity in the marking scheme of the assignments as well as in the introduction of assignments or projects.
T eam activities As a result of collaborating with colleagues, one of the in-class activities was changed to a homework assignment allowing students more time to complete their work. The teams are given a specific amount of time to complete each activity. The reason for shifting the assignment from an in-class activity to a homework activity was the time issue related to creativity. According to Wallas (cited in Starko, 2001, pp. 25-27), an incubation period is needed for creativity to occur; lack of time stifles creativity. The activity as a homework assignment received overall higher marks compared to the previous year when the activity was an in-class assignment. Other creative activities were integrated into the team skills course: problem solving, communicating ideas in groups, collaborating in team settings, and experimenting with a variety of decision-making techniques. In addition, a creativity component was incorporated into the marking scheme of all assignments. Simulation A conflict simulation was conducted focusing on team conflict. Simulations are reenactments of actual events that may occur during interpersonal interactions with clients, patients, consumers, or employees in the workplace. Simulators are individuals trained to reproduce the history, personality, and physical and/or emotional state represented in a specific case scenario. Students are assigned conflict management readings prior to the simulation. Teams role-play a particular conflict situation with an actor or simulator; each team has an opportunity to apply the readings and their personal experiences to resolve the conflict. At the end of the simulation the teams summarize their observations, the effectiveness of the solutions, how the conflict could have been resolved and/or prevented, and what the teams learned from the simulation. Creativity lecture Murray was invited to the team skills class to present a lecture on creativity based on her Master’s research. As a result of the lecture, students discovered new ways to express their creativity. The students learned about areas of creativity that they had not previously considered. Creativity is present in almost all aspects of their currently assigned projects including producing garment designs from the concept stage to three-dimensional garments; creating math formulas for garment cost sheets; and problem-solving solutions for garment patterns and designs. The aforementioned are examples of creative activities used in the fashion program, but when asked, were not considered creative by the students. Implications for curriculum development The School of Fashion curriculum changes often address students’ concerns. At the end of the term, in addition to formalized assessments, teachers have discussions with students to determine areas that worked and areas that needed improvement. Teachers record students’ reflections as possible improvements and solutions that may enhance student learning and faculty teaching in the classroom. The formation of a community of respect among teachers is essential to create an environment for successful reflection and successful teaching and learning (Rodgers, 2002). Reflective practice allows teachers and students to see the benefit of exchanging ideas and the willingness to incorporate changes into the curriculum. The process of curriculum development is ongoing because teachers are open to change and constantly reflect on their experiences.
The authors in this study attempted to answer the question, “What was the role of reflective practice in integrating creativity into a fashion design curriculum?” Initially coauthor Murray’s reflective practice was an outgrowth of her Master’s research on creativity, thus creativity was the catalyst of her reflective practice. The intent of Murray’s reflective practice was to incorporate creativity into the curriculum to positively affect students’ learning. As a result of engaging in critical conversations with coauthor Lafrenz, creativity was incorporated into the fashion curriculum. The curriculum changes were followed by data collection from students to help determine the effectiveness of adding creativity into fashion courses. Reflective practice, according to Brookfield (1995, p. 214), “has its roots in the enlightenment idea that we can stand outside of ourselves and come to a clearer understanding of what we do and who we are by freeing ourselves of distorted ways of reasoning and acting.” Creating self-awareness of one’s practice allows educators the opportunity to consider alternative ways of doing things. In this study the authors triangulated four data sources: reflective experiences, colleagues’ experiences, student surveys, and theoretical literature. The model used for the authors’ reflective process was Peters’ (1991) model describing the practice, identifying current approaches and underlying beliefs related to teaching and learning, theorizing about alternative ways, and creating new theory. Reflective practice had a positive impact on the authors by increasing their level of self-awareness. As they reflected on their strengths and areas that needed development in the classroom, they acquired knowledge and an understanding of student learning. The authors gained insight into the effectiveness of their teaching and improving their practice. From their personal experiences and the experiences of their colleagues, they were able to create an environment that enhanced student learning. The authors’ reflective activities were supported by qualitative data from students’ survey responses. A number of themes emerged from the qualitative survey questions. The themes that emerged from the question, “D escribe how creativity affected your performance and experience in the classroom” included p ositive experiences, generation of ideas, working with peers, and improved performance. The four themes that emerged from the question, “ Describe how you were creative working in teams” were brainstorming, problem solving, combining ideas, and seeing things in new ways. The data produced indicators leading to probable conclusions that the incorporation of creativity into the curriculum had a positive effect on students’ learning. The reflective experience is an ongoing process of making changes to enrich a curriculum. Educators are striving to be effective, and students want to be creative, particularly in a fashion program; therefore the curriculum needs to reflect both parties’ concerns. The authors recommend educators engage in reflection to increase an awareness of teaching, to learn from experiences, and to improve their teaching practices. Specifically the authors recommend that teachers engage in critical conversations with colleagues. Conversations with colleagues enhance one’s ability to determine educational philosophies, instruction, and responsibilities to students’ growth (Bruner, 1990). The authors in this study discovered consulting with a colleague provided opportunities to learn about and explore alternative teaching strategies. In this study consulting with a colleague occurred at each stage of the reflective process: the experience, the description of the experience, the analysis of the experience, and the experimentation stage. Recommendations from the authors include the generation of additional reflective collaboration with multiple colleagues within the School of Fashion and outside the department. Creativity should be introduced, reinforced, encouraged, and celebrated throughout all courses in project briefs, project evaluations, studio critiques, and the presentation of subject matter.
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