Contextual Background.
I conduct technical workshops that focus on demonstrating methods for constructing contour-based garments, with students actively participating, replicating the techniques to complete their own sample. The primary learning outcome is to equip students with a foundational understanding of industry-standard sewing practices, enabling them to apply and demonstrate these skills in their final garment projects.
Evaluation.
The students have varied sewing experience, which makes it challenging to find the right pace that works for everyone. I deliver a 15-minute demonstration, and then give the students 45 minutes to copy the steps they have witnesses. During that time, I walk around, checking in with every student.
If a student is caught up and waiting for next steps, I introduce more advanced techniques to keep them engaged. Students who need extra help get more one-on-one guidance, whether that’s through verbal encouragement or an additional demonstration. The more experienced students complete their projects within class time, while others might need to use studio hours outside of class to wrap things up. This setup gives everyone the support they need while keeping the workshop flowing smoothly.
Moving forwards.
I want to further explore how I can ‘scaffold’ students who need additional support and time but also allowing more experienced students to engage with advanced techniques. ”Hussey and Smith (2010) argue that the most appropriate response to diversity is a flexible approach that enables transition from dependent to autonomous learning.’’ Bamber and Jones (2015, p.153)
To facilitate this, I will create handouts and sample packs covering basic and advanced sewing methods. These resources will allow students to learn at their own pace, in class or supervised studio sessions. This approach encourages autonomous learning at any skill level while ensuring that a technician is available to provide support and scaffolding when needed.
This strategy will also help manage the workload of technicians, who often struggle to provide individualized attention due to time constraints and the number of students requiring assistance simultaneously. Preparing instructional materials means that students can independently revisit the methods demonstrated in class or learn more advanced methods at their own pace. ‘’What needs to happen is that the students are supported and feel confident in their own learning, so that they don’t hang around the corridors waiting to see already overloaded tutors with a vague sense that somehow, the tutor holds the ‘right answer.’” Brooks, (2008, p.4)
I aim to foster independent learning whilst ensuring that students who require one-on-one support can seek help as needed. I want to cultivate a social learning environment where students support one another, enhancing collaboration. ‘‘Students create a social learning environment discussing amongst peers and enabling the tutor to explore progress and work and to hold group or individual tutorials.’’ Orr and Shreeve (2017, p.90)
With these resources readily available in the sewing studio, students can independently revisit techniques when constructing their final realized outcomes. As a technician, I do not dictate to students how they should create their final submission garments; it is a collaboration. A technique learned in the first year may need to be revisited in the final year, and having a readily accessible ‘catalogue’ of methods empowers students to refresh their knowledge. This approach fosters autonomy in decision-making and helps eliminate hierarchy in the workroom, allowing all students to take ownership of their learning.
References.
Bamber, V. and Jones, A. (2015) A Handbook for Teaching and Learning in Higher Education. Edited by H.Fry, S.Ketteridge, and S.Marshall.Abingdon: Routledge.
Brooks, K. (2008) “Could do better? Students’ critique of written feedback,” Networks. eprints.uwe.ac.uk.
Hussey, T. and Smith, P. (2010) The Trouble with Higher Education: A Critical Examination of our Universities. New York and London: Routledge.
Orr, S. and Shreeve, A. (2007) Art design pedagogy in Higher Education: Knowledge, Values and Ambiguity in the creative curriculum. London: Taylor and Francis Group.