T heor y Suppor t ing Prac t ice
Robinsons and Parman (2010) Ethnography is a research strategy used for gathering primary data about aspects of the social world without interacting directly with participants (Atkinson, 2016). This allows us to collect a multitude of information on user behaviour. It is specifically relevant to my discipline this would allow me to find out more about consumer behaviour: how many people enter the shop; how many leave with purchases; how much footfall; age, sex and body shape of the consumer; how people interact with the brand; how their emotions are effect by the brand experience. Having reviewed this lecture, I am keen to use this method within my own project. It is a crucial way of gaining primary insights into the behaviours of the consumer and the behaviours of the brand and brand ambassadors which is something that has been difficult to find any information about the two elusive brands key consumers.
PLAYING WITH PEOPLE design anthropology
Koskinen (2015) says to understand design properly, we need to look at design things in research practice. When undergoing research the things we create and gather from personal experiences are called primary sources. In contrast items that are created by others but may provide valuable insights and pathways to our design journey are called secondary sources. These are items such as books, journals, magazines and film. Combing through these sources can be an incredibly arduous task as there are enormous quantities this kind of information. As there is so much of it available it’s important to group your data into categories (themes) and label similarities or differences; statements supporting and refuting theories; data units; phrases that help make sense of data such as because, despite or otherwise (coding). This process of data analysis allows the researcher to identify recurrent themes and then interpret the data. Within my own practice, secondary sourcing plays a key role in situating myself in the project and the wider context of the issues surrounding the project. It allows me to gather an overall insight about the brands I am analysing. Online versions of magazines such as Another, Dazed, and I.D magazine have provided a wealth of background on the designers as well as information pertaining to events that may be effecting the designers performances. Online databases such as mintel and wgsn have provided me with information on the current economy and global issues that are relevant to the report.
The method to which research is carried out by interacting with people is called Design Anthropology. This can take the form of interviewing, design probes, co-design workshops, surveys/questionnaires and focus groups. These categories then broken down into further segments to attain the most information from human interaction. I find this method to be very useful into gaining insights into how people feel about design items, with interest in garments and other fashion objects. In fashion this could be applied through providing fashion items i.e jacket, shoe, and asking the participants to comment on several phrases such as how does the item feel, how does the item make you feel. This is crucial to gaining the perspectives of potential buyers. A stiffer approach such as clipboards and pens would perhaps not give the responses necessary to gain a relevant insight. Jennifer Mason (2014) refers to this more interactive approach to questioning as creative interviewing.
to understand design properly, we need to look at design things in research practice Ilpo Koskinen (2015)
references
Alysha Emma Davis
Suzy Menkes
s e c o n d a ry s o u r c e s
FACT OR FICTION?
upscalehype.com
upscalehype.com
Hannah West Illustrations
MA Fashion Management and Communication is a cross discipline course combining creative (fashion) and business (management and communication). To be successful in this field will require a person who can think creatively when researching a problem space and generate research pathways through creative solutions. Research in a fashion subject area provokes an idea of a linear way of gathering information to begin a process that ends with design. The definition of research supports this in describing it as a systematic investigation into and study of materials and sources to establish facts and reach new conclusions (Oxford Dictionary, nd). For designer’s research and design should be a more entwined process, with design ideas inspiring new research areas and returning to inspire design (or solutions to a problem space - such as a brief). Christopher Frayling (2015) describes this as research through design. He states that design thinking can actually lead in all directions, and the interdisciplinary act of combining research areas that are not ‘typical’ of design process, is the next chapter for creative knowledge generators, or design thinkers. Research is a vast subject area and there are many approaches that can be carried out to gather information. Some of these processes include secondary sourcing, practice led, ethnography and design anthropology. I will investigate these four research ideas in more detail and apply them to my own practice in exploring how they have helped to shape my current project ‘Azzedine Alaia and Vetements: Comparative analysis of an established luxury fashion brand and an emerging luxury fashion brand in the global market place.’
Can you understand how it feels to be on a cliff overlooking the ocean if you haven’t been there?
OBSERVATION IN THE FIELD e t h n o g r a p h y
design thinking can actually lead in all directions Christopher Frayling (2015)
Working with material is a practice in which the product of making – i.e the artefact created in art and design practice – is conceived as having a central position in the research process (Makela, 2007). To put the artefact in to context, it can be a painting, photograph, a designed object, composition or a dance performance. It is the way designers connect themselves to the field of research. In fashion this is often explored through a toile (a textile construction resembling garments made usually made from calico). From exploring this personally, I find it is an integral part of the design process and one that I find most engaging as a designer. It is satisfying to see work created during the research process leading towards answers or challenging your perceived ideas of the problem space. As Makela (ibid.) explains, these items are when designed, mute. Therefore they have no meaning until they are interpreted by the designer – thus giving them a voice. I identify well with this method find there is a use for it in all aspects of research process as an abstract attempt to analyse or interpret material found.
Maria Hanson
introduction
WORKING WITH MATERIALS p r a c t i c e- l e d r e s e a r c h
MA FASHION MANAGEMENT AND COMMUNICATION
Atkinson, P. (2016, November). Observation In The Field. Lecture presented at TSP Ethnography Lecture in SHU, Sheffield Christopher Frayling [Research Through Design]. (2015, June 4). Provocation by Sir Christopher Frayling Part 7: Design-led Research - The Next Chapter. [Video File]. Retrieved from https:// vimeo.com/129780632. Koskinen, I. K. (2011). Design research through practice: From the lab, field, and showroom. Retrieved November 14, 2016, from http://www.sciencedirect.com.lcproxy.shu.ac.uk/science/article/ pii/B9780123855022000080 Mäkelä, M. (2007). Knowing Through Making: The Role of the Artefact in Practice-led Research. Knowledge, Technology & Policy, 20(3), 157-163. doi:10.1007/s12130-007-9028-2 Mason, J. (2014). Retrieved November 30, 2016, from https://www.youtube.com/watch?v=3rT2FMpNMZs Muratovski, A (2015) Research for designers: A guide to methods of practice, Sage Oxford University Press. (2016). Definition of Research in English: Research. Retrieved from https://en.oxforddictionaries.com/definition/research Robinsons, L., & Parman, A. (2010) research-inspired design : A step-by-step guide for interior designers. New York: Fairchild
reflections
This introduction to research methods within the field of design has been very insightful and I find that all the methods will be useful within my own practice. Muratovski (2015) expresses an urgent need for the introduc-tion of cross-disciplinary research in the field of design. With starting an MA that is already a cross-discpline between theory (business) and design (creative) I think these methods are a log-ical necessity within this area of Fashion. I also think that the label of design thinker is perfect for someone who graduates from this discipline and I am excite to venture towards the title.