Sean-Henry Fitzsimons

A challenge of 20 minutes and 6 hours of reflection, observation, and respect.

Above is my mini PowerPoint that I used as a guide for my micro-session, I finished within 17 minutes and 30 seconds, which gave my peers two minutes to reflect and followed by a 10-minute discussion about my teaching methods, the information provided, and my interaction with the room.

Unfortunately, there was some miscommunication around the event today, and I only had 4 peer members (Alix, Bo, Lucy, and Diego – Later followed by Nabil, who had been concerned for his family in Syria over the massive earthquakes that happened extremely strong character and professionalism to show up to class and engage fully, and Emil who also arrived late. A couple of others showed up after lunch as well).
We also had our personal tutor Linda in the session with us as well, an observation from the day, it was peculiar to see many of the academics exclude Linda from the participating activities.

Below is an image of the activity part of my presentation, I gave this out first as a personal observation, knitters or yarn folk have an addiction we need to feed, we love yarn and we love touching it, it was interesting to see that it was only Linda who touched and played with the yarn before any instructions, this showed me a desire/interest in the medium and inquisitive nature around my micro-session.

I went first, slightly nervous, but as a technical staff member, it meant that I had no one to compare myself to yet and my day could be spent learning and observing the academics. The class didn’t see my presentation, (some parts yes) but it was built for me, a guide to keep in check within 20 minutes, as I picked a topic that is extremely challenging for students to learn mostly because it doesn’t have a global language. This also gave me a chance to test a ‘practical’ engagement lesson that I don’t always get to do, I have no input in the lessons but a select few that are ‘Technical workshops’ the heavy stuff, also to point out I don’t see any academic in my course teach about yarns, counts, twists and the mathematics behind it. This is why I wanted to do this topic, I wanted to show that it is fun and easy and it takes visual observations to understand the minute detail of yarn making.

I led the story of yarn, which is fundamentally a part of everyone’s life. My first engagement / ‘activity’ was to get them to understand what I meant, that the below image of a cone of yarn is the pre-stage of the clothes on their backs.

From this queue, I engaged with the properties of yarn, the systems and the direct and indirect counts of these systems, mainly pointing out that:

Indirect system = Fixed weight system

Direct system = Fixed length system

It depends on the yarn composition of which system is used, generally, the indirect system is, which was the focus of the session, but I did point out that Cotton was a part of the indirect system and that other plant fibers are included in the direct system. This led me to the Question:

What do you think would be the difference between cotton and the likes of Jute, Flax (linen), and Hemp?

Answer: Cotton’s flower is the raw material that makes cotton yarn and is more fibrous like that of wool whereas the other raw material comes from the stalk of the plant which creates a much harder, dryer staple to work with.

Not many students get this either, it’s more a nerdy question for my own benefit, but sometimes we do get a rare correct answer when I’ve asked this previously in my other jobs. After the count system or the maths, as someone put it, we moved on to the activities which I talked about twists.

Activity 1:

1/30 NM (1 end/strand over 30,000 meters) is represented in the mustard yarn you have in your hands, it measures 3m long! Naturally while spinning from raw material we use a Z twist which is clockwise, I would like you to take a section of this material and slowly twist it clockwise to form its first twist.

Z twist – Untwist – S twist – Play for a moment between both twists to recognize the directions you are manipulating the yarn to go in.

Activity 2:

In the natural progression of the first activity, I want you to buddy up, and we are going to make an example of the cone I have brought with me today.

We have 3m of yarn, which represents 1/30 NM, now we need to make a 2/30 NM, to do this, one participant will be the ‘Anchor’ and the other will be the end holder. Split your 3 meters of yarn into equal parts and let the ‘Anchor’ hold the middle while the other participant holds both ends.

We are assuming from the previous activity we have twisted this single length of yarn into a Z twist, now we have 2 ends that are spun in a clockwise direction. For 2 ends to be stable which direction do you think we should twist in? (Answer – Counter-Clockwise). It is the participant that is holding the two ends, to twist these in a counter-clockwise direction while the ‘Anchor’ holds stability and force to create an even twist.

Upon reflection on our finished twisted 2/30 NM, I asked the following question:

Depending on the weight of the count, how many meters of yarn do we think we have in this cone (as the yarn represented the 2/30 NM Black polo yarn – above image)?

This question is based on observation skills and the purpose of those who noticed that we still have 30,000 meters of yarn, but to transition from 1/30 to 2/30 we had to split the 3m length of yarn in half to be able to twist it together (start of activity 2). By splitting the yarn, we need to divide the length of the meterage of 30,000 by 2 to equal 15,000m in a cone of the indirect count system = 2/30 NM. The 30 NM is still labeled because of the ‘indirect count system’ we use that resembles 1 kilo to equal 1000m so technically there is still 30 x 1000m in this cone just split into two ends/strands.

Math, what can we say, it’s a fun subject to play with, but sometimes a very confusing one in art school programs. Since we had some extra time, it provided the best opportunity to end in a design challenge.

Challenge 1:

Unravel your twist, and pick up the RED yarn that was provided, at this stage you can still hold the same roles or you can swap and let your buddy be the twister etc.

I challenge you as creatives, to think about your upbringing, your culture or your daily lifes and design a process that could twist these two yarns together.

Team 1 – have two equal lengths split in two giving them 4 ends to work with. (Bo and Diego)

Team 2 and 3 – has 1 yarn split into 2 ends and another half the length (1.5m) (Alix and Lucy and Linda and myself).

Queues – are a great way to open a student’s mind and to be more inclusive, this gave me the opportunity to mention heritage, African culture of twists and plaits, and Asian methods of yarn binding and wrapping. For those with long hair consider methods you use to decorate or style as hair is also yarn.


The results were interesting, Team 1 provided the most ‘traditional’ method of twisting and that was just repeating activity 2, providing that all strands are Z twisted they twisted all 4 ends in a counter-clockwise motion. Allowing me to point out that this would be the most common method in the industry.

Team 2 & 3 both provided plaits – industry lingo would be a cable twist, it was also very interesting to hear that Linda was getting competitive as Alix’s plaits were uninformative and even. Although both methods are twists, I was able to mention that having different tensions or uneven twists allows for more novelty-based yarns called Slubs or Boucle. Securing the idea that both types are right and are acceptable design methods in twisting yarns.

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Reflection and Peer observations.

I personally felt that my object presentation went well, I played within my comfort zone but I did test new ideas on how to present and be interactive in the process of understanding those harder subjects within my practice. I was lively and allowed interaction with peers and questions to be answered. I feel like I provided enough time for those to digest the counts and systems before moving onto the activity and reliving the count system through active learning methods.

Peer Observations:

From the notes, that I took, I was given feedback, that I led the heavy information with a tactile sensibility that allowed the ‘students’ to touch and play while digesting the content. I provided time and space for students to practice what they were taught and learn the content in their own way and pace.
That as a practitioner, I was accessible and I showed my expertise in my field bridging trust between the learning material and my answers showing a depth of knowledge. Using and allocating a focus on industry language and vocabulary gives students the understanding and opportunity to use it in their work while discussing ideas etc.

Some opportunities were missed, I could’ve provided some examples of the different types of materials to really engorge my tactile environment and enrich a student’s opportunity to be curious about different types of twists, unfortunately I thought it was led by a single object, I did how ever get the participants to reflect on what they were wearing, so maybe I could’ve finished on this as well, after the teaching sessions on a reflective/realisation moment.

Another mention was to always try and include and build sustainable practice into each session, falling in line with UAL’s policy and also giving the students something to consider in their research. Although I do believe in sustainable practice, the word sustainable is no longer viable in my eyes as a designer/practitioner, and more reliable terms such as circular, regenerative, end life, and social responsibility can provide easier routes for students to learn about sustainability.

Linda awarded me, with a compliment on the area that Sustainability should be a subject in its own right at university, either academically or vocationally, that the word sustainability is just a title, while the modules would be the real substance behind the movement. Allowing students to practice and create new discoveries or policies around the future of sustainable integration into society and education.

Over all, I felt respected, and it was extremely rewarding for me to share my passion with creatives outside of my world. I thank them for participating and providing me with feedback on my practice.

A post by 1 GRANARY

https://1granary.com/interviews/business-insiders/lisa-lang-teaches-us-how-to-talk-politics-in-fashion/

An outside perspective, that has made me stop and think today, it was mostly around where and what is fashion education and does it belong in society or is it still relevant. This falls into my reading around alternative platforms, and makes me break down what is it that a university provides to a student studying Fashion/Textiles etc?

I personally feel, that there is a massive disconnect in these types of conversations, even if this dialogue isn’t between someone who has studied fashion design. But it’s extremely relevant, are 3 years (or 90 weeks/even less tbh) enough time to teach fashion, to teach craft, and to also teach the history that comes with it.
I can contribute that the 15 month MA course INNOVATION FASHION PRODUCTION course I work in fits this extract more surely! but we rely on skills known and experience worked to get the best out of the course! it’s intense and fast-paced! but it is a MA that shows students the direct symbiotic relationship with production/supply chains and design as well as policies around sustainable practices in labour, material, and co-existing with nature.

From this extract alone, shouldn’t we be teaching business theory along with design and craft? does fashion education need to be rewritten? because the outcome has changed.

Pre task was to read the ‘Learning outcomes and assessment criteria in art and design. What’s the recurring problem?’ by Allen Davies, which I will reflect on in the ‘reading to reflect’ section of my blog. Accompanying this it was also to see the course tool kit and how we use these tool kits to help develop, build or strengthen parts of the course building.

Two, in particular, stood out for me:
1. Course designer: Defining course aims.
2. Course designer: Vision and Values.

These were of particular interest as they can provide me with a starting point of seeing what my aims are for my position in the course my skills are related to and if those skills are progressive or emotively connected to that course. But also I like the idea of building my own course around knitwear and fashion knit, how would I set these aims and provide the course value and vision?

The diamond structure of building vision and values is new to me, and something I would like to test out technically as well as academically in that sense. What values in technical skills should a course provide a student in comparison to that creative skills?

Also, I think the technical staff isn’t provided with the information in their course, especially on my course, my defining the aims upon reflection of existing courses, what information or data do I have access to that I can check student feedback, etc?

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Coming to the workshop today, I was ready, but also felt inadequate, hoping that I wasn’t the only technical staff member, and how the tasks seemed to really focus on assessment or teaching formats and strategies, situations that I have zero experience in, my value of input was questionable or only reflective on how technical staff is used in these scenarios.

The icebreaker was fun and energetic as it brought a sense of what and whys to the table, getting to know the group we decided on two quotes:

” 8. while risk-taking is central to the critical thinking process, this behavior is unlikely to occur unless those involved have no sense of fear.’ (no citation)

” Sensory experiences are key in the formation of knowledge…sensory experiences affect emotions that initiate decision-making processes…Unexpected patterns of behaviour and language [are] used when describing sensory experiences. To facilitate teaching in an educational setting [we need to use] metaphors and visual language as words describing tactile experiences are relatively underdeveloped”.
Groth, C., Mäkelä, M., & Seitamaa Hakkarainen, P. (2015). Tactile augmentation: A multimethod for capturing experiential knowledge. Craft Research, 6(1), 57-81. 

Both are interjoined with each other, and while the risk is present from the previous discussion the focus for me was the unique dialogue about the sensory experience and art/design in general. We agreed that adding sensory artefacts into our teaching environment can really change a student’s experience in learning, as the use of smell, touch, or can recall emotions, experiences, or places. But the interesting and also probably inappropriate was eliminating a student’s sense in these environments;
1. Changing an object’s smell, for instance, a Lilly smelling like a sheep.
2. Blind folding students and letting them touch objects to get a sense of descriptive factors.
3. The obscenity of tasting objects, How would you describe the taste without tasting?

•Who do you imagine saying it?
We believed the quote came from someone who studies pedagogy or is in the field of it, who would have a greater sense of student learning that the average practitioner.

•What does it mean to you?
It gives meaning to us, a purpose to what’s being taught, an idea that isn’t just a paper document describing said sensory experiences but reliving those experiences. It brings a sense of owning the intelligence behind re-living new/old senses.

•What else does it bring to mind (an idea/image/event/memory)?
I said that I was bringing what Olafur Eliasson does as an artist, and their interactive showcase at the Tate Modern, where the idea of senses played a huge role in what they wanted to achieve. How light can be distorted to obscure your sense of safety, or eliminate colours bar one from a room. Even the translation of noise into captured light waves paints a command onto canvas.

•In what ways do you agree with it?
I definitely agree with how sensory objects/artefacts can play a huge role in the learning process as they build not just anatomical memories but all senses. Which gives the learning process a stronger foundation to memorize and also recall.

•In what ways do you disagree with it?
I personally don’t disagree, but I feel in the objective of participation, could come into ‘accessible misconduct’, that someone with a sensory disability could feel objectified or in a worst-case become reflective in comparison.

•What do you think are the implications of this belief for teaching practice?
That they are practical and worthy of all practices, in any teaching environment, adding a sensory experience even at the smallest scale could really change a student’s perspective of absorbing knowledge.

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LEARNING DESIGN WORKSHOP #1

⟶What is it for (aims)?
The aim of my artefacts is to enhance the outcome of lessons on garment making and especially designing jumpers/sweaters.

⟶How is it used?
It is used as a fundamental tool, that is easily passed about for students to touch, place, and find cute. It expresses different ways of making garment styles and shows the students how each sleeve design changes the silhouette.

⟶What is assessed?
As this is a technical workshop, I believe nothing is assessed, this is a learning cue to get students to participate in designing knitwear pieces, it is optional to be used but more to just influence one’s process in ‘industry standards’.

If it was to be assessed, I would critically examine students’ observations on construction methods, seams, and joins (through trial and error) and a display of prototypes to the final outcome.

⟶How is it assessed?
I can only dream of how it might be assessed, and that would be a balance of student understanding of the system that goes into making a garment.
Do they understand tension swatches?
Have they used the correct terminology to describe their jumper/sweater?
Do they comprehend the difference between Silhouette and style?
Have they experimented with construction and trims?

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LEARNING DESIGN WORKSHOP #2 MAKE A POSTER

We had to redesign our artefact and focus on an element of that workshop. I would like to embed this as a practical critical thinking workshop;

‘How does a Shape become Genderised?’
Classic knitting was very much ungendered, it was basic squares or rectangles that became a vessel of protection against elements or used as identifying fishermen to their families after death at sea. It has been a capitalized ordeal to gender garments, and I don’t want to remove that notion either but enhance the practice of shape-making at the more experimental stage.

Knitting shapes, a circle, square, rectangle, or more challenging like an ‘I’ or ‘H’ shape and using those to construct a ‘wearable vessel’ in a rudimentary format, unrefined to critical analysis of why and what we are practising. Then we introduce these ideologies of gender into these shapes, how does a bust dart affect a certain shape. Does it matter which way an opening opens? commercially masculine or feminine stitch structures or gauges play a role in the construction

Upon reflection, I really enjoyed this poster-making workshop, as it was the first time that I realized if my teaching in technical is connected to that academically? It also makes me want to create this workshop and refine its purpose of breaking gender norms in fashion. I will leave it with that the ‘craft’ community of hand knitting is probably the most gender-fluid fashion community that is also size-inclusive. A garment comes in the range of 9 sizes!! that covers the smallest of ‘women’s’ and the largest of ‘men’s’ giving the crafters a wide range of making something that fits their body.

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TEACHING FORMATS AND STRATEGIES

⟶Large group teaching/lecture

⟶Small group teaching/demonstration, seminar, workshop

⟶One-to-one teaching/tutorial (OUR GROUP)

⟶Crit/presentation

This was interesting and smartly approached by Tim in how he first used the whole classroom to discuss the ‘Large group teaching/lecture’ scenarios. Those who teach larger cohorts with 100 plus students became more dominant in the dialogue which strangely all belonged to one group (interesting to see if groups are preselected to find a relatable peer-mate). It was concluded that dialogue was heavy to keep proactive and that it felt comedian based on stand-up trying to get a group of students to participate. Although some answers of preselecting students to talk in a pre-lecture begins the conversation, or randomly selecting students in the crowd and on the spot to see if they can participate. The other more humane approach is to see if ‘climbing a mountain’ starts off easy, gradually introducing banal or ‘funny’ infographics or visuals to awaken the dialogue, slowly generating more in-depth questions around the topic at hand.

We then split into our groups for the rest of the strategies, our group was handed the 1-2-1 tutorial scenario, which we generalized between both the student and tutor perspectives. Working out the benefits and challenges, rather than the pros and cons, as all these scenarios would have biased views on tutor-to-student teaching. As I don’t hold or participate in these scenarios it was hard to be a part of the conversation in the manner of expressing my benefits or challenges that I’ve experienced, It was interesting to listen and hear back from experienced teaching staff and see the difference in approaches. This also left me stagnant and unfocused, and I noticed that it was a challenge to stay active in the dialogue with peers looking to see if I understood or wanted to contribute.

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The ending of the session was more on the assessment process, and conversations around pastoral care, one peer acknowledged that she, herself didn’t fully understand what it meant or how it was involved in her practice. Others mentioned that they don’t use the word pastoral or split up the different tutorials so that students are aware of what the 1-2-1 scenario is about before attending. Others reflected on how ‘their’ duty of care was basically a 24/7 person to contact and that the subject of pastoral care seemed very muddled and grey.

This conversation left a huge sour taste in my mouth, It was the first time I questioned if this course or path was right for me and it is not subjectively against it or not to show empathy. But If it is that from Northern Ireland where mental health is basically a front-line crisis in young people committing suicide. I just couldn’t comprehend how an academic is meant to be a stable advisor and I repeat “student having a mental breakdown” or “drug addiction” or even other students messaging late at night saying “so and so hasn’t been reachable for a few days, we are worried”. Academics/tutors/technical staff ARE NOT trained professionals to deal with this crisis and can lead to poor choices, poor advice, and worst case scenarios even death!
It really made me stop in my tracks, and jump off the train, I don’t want that responsibility of someone’s life in my hands, or what if something happens and then it affects my life? is their security in place from UAL to protect me as a practitioner? I show empathy, I have first-hand experience with living with mental illnesses, and these are not easy subjects to navigate.

I am currently in limbo, searching for an answer on how I move forward, both my close peers have advised me to take a break and reflect upon the decision later, and have encouraged me to work on these feelings of why and muster the courage to challenge it.

Do I want to be an academic? – this is what I am questioning, is this the right path for me.

“Pastoral care in education means a whole-school strategic and operational approach to improve learners’ attendance, and to foster an atmosphere that is conducive for learning and promotes tolerance, resilience, fairness and equal opportunities for all, with due regard for protected characteristics. Such an approach to pastoral care should eliminate racism, inequality, discrimination and other hindrances to learning, to create an ethos that culminates in engagement and academic achievement of learners. Therefore, effective pastoral care can:

• improve students’ attendance and retention rates
• foster an orderly atmosphere in which all students can access opportunities, and enhance their academic achievements
• promote tolerance, especially in students and teachers with due regard for protected characteristics
• subdue racism and inequality
• teach respect for self and others (Benard, 1995, pp. 3–4)” (LINK)

I think I need to do some research on this topic, as what I have found out today compared to what is written above, there seems to be a disconnect in what pastoral care is.

IMAGE: BOJAGI PATCHWORK (LINK)

“Bojagi is a Korean textile technique which roughly translates as ‘covering’ or ‘wrapping cloth’. Bojagi is traditionally a square piece of cloth skillfully constructed from a variety of leftover scrap fabrics, commonly made from silk or ramie. It has played an important role in Korean culture for centuries as a tool to wrap, cover and carry items, as well as for special occasions such as religious rituals and marriages. These functional yet beautiful items were not just a means of self-expression for the maker but were used as an integral part of everyday life. “

I think I a finding a theme in this art works, bricolage and bojagi the idea of building and using left overs or scraps to create a sense of purpose to construct a narrative is really building in my feelings of patching bits and bobs together to understand the necessary needs to participate or continue.

11th Jan Collaborative workshop – Ongoing research.

I had to participate in this workshop asynchronously and my first thought post watching is that I am lost on the actual observation of what was being taught. Maybe I need to re-watch the recording and slow it down in places, but I found it extremely distracting and my concentration faltered during the 2 hours.

“Aims of the session
• Demystify research through sharing two
projects in progress.
• Consider the potential of creative methods for
researching arts university questions.
• Start thinking about what aspect of your
academic practice you would like to investigate.”

Above are the Aims allocated to the session, both projects showed displays of visualizing the workroom surroundings, one inadvertently bias due to working and knowing the surroundings by being a faculty member. The second transcribes the textual context of witnessing art pedagogy in a socio-material observation between storytelling, who envokes such stories and observing workshops across UAL.

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Potentially seeing or observing environments in creative pedagogy has led to such questions and research has begun in low-tech formats of communications or in a sense of common ability and practices. Using drawing as a tool of communication in a proactive way, led to such possibilities for connecting everyday observations or learning scenarios.

‘Carazzo’ interprets their research as spatial, that the space we use as creatives is fundamental in learning how we progress creatively. The invasion of ‘sofas’ in office spaces has allowed student interaction to be less aggressive/formal and more inclusive and harmonious in sharing or connecting.

“Pedagogy is an inherently spatial practice” Acton 2017:1441
“The material space of the studio is rarely examined” Carazzo 2019

‘Carazzo’ goes on to quote other influences that back up their theory on spatial environments playing a role in student learning and interaction and thus becoming somewhat of a socio-material relationship of student-environment-tutor.

“These materials may be used by humans, but that may also use the humans and influence and change the educational practice, which then is no longer particularly human; instead it is socio-material” Sorenson 2009:2

With this influence of observation, ‘Carazzo’ establishes a workable theory with routes of investigation be it peer or student interaction with the work environment. Creating an ethnographic map of the surrounding that is participant based and allows students and peers to draw out the environment through their personal lens.

The results came through with interlinking or entangled results in the idea of what kind of environment can lead a student’s journey through creative pedagogy, with some back-and-forth acknowledgments in the idea of formal/informal scenarios, the student’s wants and needs, and the well-being of students by observation or interaction.

‘… if I’m sat around a table it looks like you’re doing something proper and real,
but if you’re just sat on the sofa it looks like informal chit chat.’ – Tutor 2

‘…actually often getting to the bottom of what somebody is about happens more authentically as it feels more real. There is actual dialogue and it’s a different dialogue – not two monologues … I’m able to listen more effectively the dialogue
becomes more true dialogue.’ – Tutor 2

The above was directly from the same observer, the latter counter-reacting to the first by reflecting on the outcome of the dialogue between tutor and student. This ponders my own question on art-based pedagogy.
‘ Does the environment we indulge in provide the opportunity to commit creatively?’

The question reflects a more technical observation of art pedagogy, creatively speaking does a studio, workshop, or workroom (basically all the same) contribute to the creative flow of conversation between tutor and peer review. Would the accessible advantages of equipment lead to active participation in communication through physical means, be that drawing, knitting or sewing, or even sculpture.

If I was to replace a sofa with a machine, or tool can the same dialogue between learners be replicated in that sense of ‘carazzos’ observations?

What I did pick up from ‘Smith’ presentation was a text-based journey in understanding, particularly the ‘Noticing, Departure points and Closing’ sections. It established a stand-out end route of bringing the research to a conclusion.

Although ‘Smith’ left me with another paper to research or abstract, as the textile term stood out, and for me on the journey its about making a connection between textiles and academia,

‘Bricolage'(Kincheloe, 2001)
“Following Levi-Strauss’s concept of the bricoleur or craftsperson, bricolage is an assemblage of different methods, responsively collated into a coherent whole. Heavy use of reflection as connective tissue.” Smith 2023

This brings me to the end of this collaborative take on research, be it ongoing in its journey, (a mental note to read up on the final paper on these two creatives in the future).
What still remains muddy?

Absolutely everything, is it clearer? not really, can I participate in research? I believe so. Can I challenge the concepts of my observations to create a research topic? I believe so.

Image : Bricolage Quilt – (Link)
“The essence of Bricolage is in the name – a piecing together of available cloth and local Irish linens, to create contemporary quilts and homewares. Its influences come from a strong design background, the power of Irish nature, the inherent natural qualities of the linen cloth used and the familiar heritage of plant-dyeing processes. ” Sinead Black of Bricolage quilts.

An insight into the teaching day from a technicians perspective.

As this was the first class of the new term, mandatory practice is needed to be revised;
1. Health and Safety
2. Workshop etiquette
3. Machine Usage

This is a formality to help remind students around safe working conditions and to be considerate while using the work space.

Today’s session was Dubied lesson 2: Mock rib to true rib.
This is the second time BA1 students have used this type of machine, which is an industrial V bed knitting machine. They create double bed and single bed fabrics and can also use more developed technical yarns than that of the domestic.

Before the first technique, I ran a few questions of student engagement from the previous session.

Q1: Who knows how to feed the the yarn feeders? – (student answered with a practical demonstration).
Q2: Who can identify the circular cams on the carriage? – (student answered by showing the class which cams they were).
Q3: Who can explain what the colours Red, Green and Black are for on the tension dials? (student answered by explaining correctly the red is for waste yarn knitting or single bed, but got black and green mixed up, but understood the usage of these colour selectors).

Starting a class with an engagement task, allows me to assess the previous session and to see who has completed any asynchronous tasks/work set by the academic.

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Technique 1: The Mock rib ( A simple yet effective knit structure that can be used in combination of other techniques or sequences). It is the first introduction to dubied transfer tools and moving stitches from one bed to another.

Technique 2: The Plaiting feeder and Racked Rib
This would carry on from the previous technique but introducing two new features to change the dynamic of static columns. The plaiting feature allows us to add colour or stability yarns to our work (elastics, mono-filaments etc), while the racking brings a sense of movement into the texture and gives the illusion of transfer work (without the work).

Image to upload-

On reflection of these techniques, we start on mock ribs, as its a fundamental core structure in knitwear that can benefit a lot of other patterns, sequences and structures. The first two techniques are demonstrated and preformed in the morning session from 9.30am to 11am, splitting the time and techniques up with room to play.

LEARN – PLAY – CREATE – MISTAKE

These 4 words is the start of Dubied machine learning, no one is expected to be perfect and to introduce the risk factor of allowing mistakes to happen really gives the students an area to be play and be confident in yarn choosing and experimentation.

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The second half of this work shop is all about TRUE RIBS, which again are core elements to knitwear, mostly found around trims, collars and cuffs on garments. These techniques would be classed as finishing techniques and bring knitted garments to life which successfully adapted into a design.

1×1 True Rib (1 needle in, 1 needle out, on both beds).

The core learning to tool in this section is the HALF PITCH of the racking tool previously taught in the mock rib section, instead of moving 1 full space of racking you need to find a sweet spot in between two points which is classed as half position.

The above images shows the racking bars stopping the bed in a full rack position and a half rack position. These racking tools will be used through out the rest of their experience using the knitting machines.

2×1 Rib ( 2 needles in, 1 needle out) Swiss Rib or Industrial Rib.

This is one of the most common trims in knitwear. Its a core technique used to start samples and garments and we teach it early because after this session! a trim is to be knitted with every sample on the dubied! which provides students the understanding of what is needed in industry and how to physically knit and design trims in their projects.

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This technical session is built around knowledge building and skill progression, it is apart of a 6 week technical teaching program. Which gives students the skills and confidences to use industrial V bed knitting machines, with in this time Students are also provided 3 hours of booked studio access to continue developing the techniques taught on this day, or with a hint of guidance to combine those techniques taught in a previous session.

I hope this gives you an insight of my daily teaching with in the workroom at LCF knit, as well as this workshop, the studio is filled with other students that might have machine difficulties or need a more 1×1 technical supervision on their project.

Francesco’s presentation

How could fashion design education address European colonialism, economic and environmental exploitation, and social injustices?

In what ways can design students evolve traditional clothing practices without engaging in cultural appropriation?

In what meaningful ways can designers (including myself as a white male European) learn from other forms of fashion?

To what extent can such experiments be scaled without turning into unsustainable fashion design practices?

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As a white cis queer man, attendance to these conversations is a must, a reflection on my privileges needs to engage with others’ perspectives. I can’t neglect this as a topic and build my awareness around a multicultural environment which is our education system.

My key point that I used as a reflection on this was the commercialization of the Aran Jumper and how it once held value to the person, through symbolism, clan, and identity.

An Aran jumper/sweater comes from an island on the west coast of Ireland, that was revolutionized in generational learning environments around identity and country. Made by the women of clans and designed to represent symbols of living, hope, wealth, love, and life, these Clans had identifiable stitch structures that were used in many ways, for showmanship, fisheries, and other types of work. But most importantly it was used in death, to recognize the loss of a loved one or clan member.

“Aran jumper, hand knit in Ireland. Each stitch carries its own unique meaning, a historic legacy from the lives of the Island community many years ago. The Cable Stitch is a depiction of the fisherman’s ropes and represents a wish for a fruitful day at sea. The Diamond Stitch reflects the small fields of the islands. These diamonds are sometimes filled with Irish moss stitches, depicting the seaweed that was used to fertilize the barren fields and produce a good harvest. Hence the diamond stitch is a wish for success and wealth. The Zig Zag Stitch, a half diamond, is often used in the Aran Sweaters, and popularly represents the twisting cliff paths on the islands. The Tree of Life is one of the original stitches and is unique to the earliest examples of Aran knitwear. It again reflects the importance of the clan, and is an expression of a desire for clan unity, with long-lived parents and strong children”. (link)

To reflect on this, it has to do with a particular time in history, did the Irish know what was happening to one of their identities? or was it due to the mass migration of the Irish population that the cabled jumpers became worldwide?

Can we in 2023 use this as a way of sociologically understanding how migration can help cultural appropriation in Fashion? Is there something missing in history between the Irish jumper and how it became a worldwide fashion statement and Irish glorification?

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This was my example, that not many people know of that the jumper stood for more than fashion, that it had a faith attached that it was a Celtic paganistic spiritually designed garment. That represented more than just something to keep you warm or be fashionable.

Regarding the other questions, I couldn’t fully engage in the conversation, but I did listen to those peers who hold a better understanding of these topics. It was extremely insightful and holds strength as to why these conversations need to happen.

“The collective experience is diminished if someone doesn’t have a lived experience. We could set briefs that are localized, and approach diversity within the brief.”
(peer answer anonymously)

This was an interesting answer, could provide a localized group of storytelling and be translatable into creative outlets?
e.g. Drawing tools for lived experiences (from Sarah Ee who presented drawing as a form of visualizing dyslexia).

This falls back onto the value of storytelling in fashion and how connections are made through these lived experiences, something that I feel personally is missing from mainstream fashion these days. Where is the lost art of fashion storytelling to build community, culture, and livelihoods?

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Image: Robyn Lynch a contemporary Irish designer who explores Irish roots and contemporary street styles. That explores the influence of migration in Ireland and how its shaped todays fashion.

The start of something new, either by introduction or self-investigation, begins with interest. An Interest in the reflection of my current role has led to the study/exploration of the transition between technical practice and academic practice, by doing so, will hopefully enhance my skills in teaching and learning.

I am hoping that this PGcert will provide enough stability in continuing this path and if, it will shape my future in academia or a more technical-based position.

My Teaching and Learning position has allowed my skills to be more practical in the studios and has also challenged my digital skills in broadening my personal research in textiles, this has developed a stronger love for teaching, showing craftsmanship, and the familiar passing of the torch onto a new generation of knitters. While this has been exciting, my other research passion lies in digital practice, harnessing software to enhance craft practice to visualize, prototype, and create a more sustainable meaning of working.

Can I bridge, the initiative process of craftmanship and bring it into the digital environment?

Image: Sashiko (link)
I have used a sashiko image here, as I feel it represents my emotive state of mind on my current position in teaching and learning, I am building upon my core skills, in new ways but rather than repairing something, I am adding to it, in a more natural way following my own path and challenging my own perceptions around academia.