RE-FRAME FASHION Report Innovation in Fashion Education ERASMUS+ KA2 Strategic Partnerships RE-FRAME FASHION Erasmus+ 2018 KA2 - Cooperation for Innovation and the Exchange of Good Practices KA203 - Strategic Partnerships for Higher Education Grant Agreement No: 2018-1-NL01-KA203-038957

PROJECT CO-ORDINATOR Erasmus University Rotterdam, The Netherlands Prof. dr. Ben Wubs Dr. Mariangela Lavanga

PROJECT MEMBERS Université Paris-Dauphine - PSL (Paris Sciences & Lettres), France Prof. dr. Denis Darpy Dr. Colette Depeyre

Gdańsk University of Technology, Poland Prof. dr. Luciano Segreto Dr. Magdalena Popowska

December 2020

Graphic design, Nicoletta Ada De Pace Logo, Filip Popowski

The project partners would like to thank the representatives of the higher education institutions, companies, organisations and students that contributed their time and insights to the writing of this report through participating in workshops, interviews, conversations and courses. In particular, we would like to thank dr. Eva Delacroix-Bastie, dr. Kristell Blanche-Comte and dr. Florence Benoit-Moreau (Université Paris- Dauphine - PSL) for their contribution in differnt phases of the project. Last but not least, a big thanks to our student assistants Daphne Geveke and Loes Julicher, both at Erasmus University Rotterdam, for their help in the final part of the project, right in the middle of the Covid-19 pandemic.

This work is licensed under a Creative Commons Attribution- NonCommercial Licence (CC BY-NC)

How to cite: Ben Wubs, Mariangela Lavanga, Denis Darpy, Colette Depeyre, Luciano Segreto, Magdalena Popowska (2020) RE-FRAME FASHION Report. Innovation in Fashion Education. Rotterdam, Paris, Gdańsk: REFRAME FASHION Publications, Erasmus+ Strategic Partnerships for Higher Education Programme of the European Union.

You can always drop an email for extra information: [email protected] RE-FRAME FASHION Report Innovation in Fashion Education

“Entrepreneurship in Fashion” was developed with key industry partner You’ll, a RE-FRAME FASHION is a two-year project co- marketing agency. The aim was to familiarize funded by the Erasmus+ Strategic Partnerships students with the concept of entrepreneurship, Executive Summary for Higher Education Programme of the introducing the fashion industry and sensitising European Union. Its aim is to understand the students to sustainability issues and cultural needs of fashion industry stakeholders and aspects of fashion. Due to the highly interactive provide students with the right tool set to character of the course, it was well received meet these needs. The transnational project and will be continued in the curriculum of the is designed and executed by three European master programme International Management universities - Erasmus University Rotterdam (IM) at Gdańsk University of Technology. (NL), Université Paris-Dauphine - PSL (FR), “Heritage in Fashion” was developed Gdańsk University of Technology (PL) - together with a key fashion partner, the European with fashion industry partners. Fashion Heritage Association (EFHA). During This report provides an overview of the course students developed case studies the final project results. With the international related to the various challenges faced by the collaboration, the following three high quality EFHA. Case-based learning was at the centre courses were developed and piloted in three of the teaching method employed throughout Higher Education Institutions (HEIs) in close the course. In the reflection upon the course, collaboration with non-academic fashion students mentioned they felt challenged and partners: were very satisfied with the course overall. 1. “Sustainability in Fashion” (Intellectual The course is continued in the next academic Output 1) developed and piloted by year as part of the curriculum of the Master in Université Paris-Dauphine - PSL, History, track GLOCAL, Global Markets Local 2. “Entrepreneurship in Fashion” Creativities. (Intellectual Output 2) developed RE-FRAME FASHION Erasmus+ and piloted by Gdańsk University of Strategic Partnerships project allowed for a Technology, deep reflection by the project team of its own 3. “Heritage in Fashion” (Intellectual practices and approaches, accounting for a Output 3) developed and piloted by the variety of geographic, economic and socio- Erasmus University Rotterdam. cultural contexts, in a critical period where Furthemore, the report delves into academia, industry and society are deeply the “Methodology Development” (Intellectual changing. Lastly, it is worth mentioning that all Output 4) behind the courses and discusses the courses developed in this project were affected methods used to foster students’ engagement, by the Covid-19 pandemic. As the courses critical thinking and the involvement of relied heavily on field trips and interaction with stakeholders. students and fashion industry stakeholders, “Sustainability in Fashion” was some parts of the courses had to be re- developed together with key industry partner adapted to a digital learning environment. Le Coq Sportif. The course delved into the Nevertheless, the project team used all the current debates in the fashion industry tools to ensure the best learning experience concerning sustainability, and was organized for the students, and with all adaptations the along six themes: the consumption of clothes, courses were well received by both students the production of clothes, the design of clothes, and fashion industry partners. In conclusion, the choice of materials, the role and impact RE-FRAME FASHION managed to contribute to of communication, and the work environment the acquisition of sustainability skills, cognitive (local and global). Field trips were a key aspect and emotional attitudes, interdisciplinary of the course, which encouraged students to knowledge, community and social learning, interact with industry experts and keeping aspects that are highly valued by the European logbooks of these interactions. The course Commission. The three new courses are the was well received and will be continued in steppingstones towards an International Master three curriculum: it is renewed in the Master in Fashion Industry (IMFI) that is international, Marketing & Strategy but adapted to two transdisciplinary, and inclusive. The team is different tracks, Communication and Luxury, looking forward to continuing working together, and proposed in the Master Fashion & Materials enlarging the network of partners, building on of Paris Fashion School by PSL (École Nationale the new courses and methods and inspiring de Mode et Matière, EnaMoMa) as a core other academics, professionals and students to course on sustainability. engage in innovative education.

4 5 RE-FRAME FASHION Report Innovation in Fashion Education

Table of contents 4 Executive Summary

8 Introduction

10 Sustainability in Fashion (Intellectual Output 1) 11 Developing a new course on sustainability in fashion 12 Piloting a new course on sustainability in fashion 12 From offline to online educationù 12 What’s next?

14 Entrepreneurship in Fashion (Intellectual Output 2) 14 Developing a new course on entrepreneurship in fashion 15 Piloting a new course on entrepreneurship in fashion 16 What’s next?

17 Heritage in Fashion (Intellectual Output 3) 17 Developing a new course on heritage in fashion 18 Piloting a new course on heritage in fashion 19 What’s next?

21 Methodology Development (Intellectual Output 4) 21 A taxonomy of methods for students’ engagement and stakeholder involvement 23 Highlights from teaching sustainability and fashion 24 Highlights from teaching entrepreneurship and fashion 25 Highlights from teaching heritage and fashion 26 Disruption of education and the strength of an Erasmus+ project

27 Conclusion

30 Appendix A - Main literature used in the courses 30 Sustainability in Fashion 30 Entrepreneurship in Fashion 31 Heritage in Fashion 33 Case studies part of the training provided by RSM Case Development Centre

34 Appendix B - Challenges developed in collaboration with the European Fashion Heritage Association (EFHA) and the two best cases published 35 EFHA: Connecting Academia with Fashion Heritage 35 You are what you (co)curate: A participatory approach to fashion curation in the digital world

36 Appendix C - RE-FRAME FASHION website

38 Appendix D - Contributors

6 7 RE-FRAME FASHION Report Innovation in Fashion Education

Introduction

The fashion industry is developing as a global In conclusion, RE-FRAME FASHION Atelier Néerlandais (a platform of the Dutch industry, interlinked and intertwined with encourages non-academic stakeholders to Embassy in Paris). Over 20 international fashion other creative and non-creative sectors of the actively contribute to the curriculum and industry experts, academics and students economy, but it is also very much place-specific quality of the programmes of participating were present and contributed to the workshop. in nature. This requires a deep understanding HEIs. The three piloted courses are the While the morning was dedicated to present of the economic, social, cultural and historic steppingstones towards developing an the preliminary results of the “Conversations contexts in which the industry operates, at International Master in Fashion Industry in Fashion” (needs analysis) and receive initial the local, national and international levels. (IMFI), whose overarching goal is to provide feedback, the afternoon was dedicated to However, the current offer of academic masters an innovative route for students who wish to a design-thinking workshop to shape future in fashion mainly focuses on management of work in the global fashion industry as creative education in fashion. At the end of June 2019, fashion or luxury, communication of fashion managers, entrepreneurs, consultants, policy the team was invited to present RE-FRAME or fashion studies, with a narrow national makers, and researchers. FASHION at the “4th Edition of Rencontres focus. Graduates of masters in fashion lack the RE-FRAME FASHION is a two-year Anti_Fashion” in Marseille. The Rencontres instruments and the skills to understand fashion project supported by the European Union were initiated by Stephanie Calvino after the and contribute to its sustainable development. through the Erasmus+ action KA203 - Strategic publication of the Anti_Fashion Manifesto by Furthermore, graduates of fashion schools Partnerships for Higher Education, connecting Lidewij Edelkoort in 2015. They have become lack business training. According to a global three partner universities and interacting the meeting point of persons and organisations survey on fashion education in 2015, carried with a wide range of fashion stakeholders. that are engaged in reinventing the fashion out by Business of Fashion (BOF)1, fashion The Erasmus+ KA2 Strategic Partnerships system to make it conscious, positive and students say they need more business training. Programme of the European Union aims at humane. Of the 4,032 BA and MA students and alumni supporting the development, transfer and/ This report starts with an overview surveyed, only 58 percent said they were or implementation of innovative practices as of the three new courses, their development satisfied with the business education at their well as joint initiatives promoting cooperation, based on a needs analysis, and their piloting schools. Only 10 percent of students at peer learning and exchanges of experience at in three HEIs in close collaboration with non- London’s Central Saint Martins, one of the the European level. The project RE-FRAME academic fashion partners. It starts with the most famous fashion schools, said they were FASHION is led by Erasmus University development and implementation of the course satisfied with the business content of their Rotterdam (NL) and carried out together with “Sustainability in Fashion” at Université Paris- training. The famous Dutch fashion forecaster Université Paris-Dauphine - PSL (FR), Gdańsk Dauphine - PSL, followed by Entrepreneurship Lidewij Edelkoort in her Anti-Fashion Manifesto University of Technology (PL) and fashion in Fashion at Gdańsk University of Technology, (2015)2 argues that students are being trained partners such as the European Fashion Heritage and Heritage in Fashion at Erasmus University “to become catwalk designers, highly individual Association, Studio Vegter, Victoria and Albert Rotterdam. Second, the report delves into the stars and divas, to be discovered by luxury Museum, BOHOBOCO, You’ll and Le Coq methodology behind the courses and offers brands,” which is a rather old-fashioned view of Sportif. RE-FRAME FASHION encourages an overview of the methods used to foster the profession. exchanges among the three HEI partners students’ engagement, critical thinking and the RE-FRAME FASHION aims at and non-academic stakeholders to actively involvement of stakeholders. It also provides innovating education in fashion in European innovate the curriculum and quality of the a reflection on the disruption of education Higher Education Institutions (HEIs) in close HEI programmes, and, in doing so, facilitates and closure of universities in March 2020 due collaboration with fashion partners. In order to students’ access to the job market. to Covid-19 pandemic, right in the middle of do so, it: The report presents the final results piloting the new courses. The report concludes • addresses current educational and of RE-FRAME FASHION. Its preliminary with a reflection on the aims of RE-FRAME labour-market needs in the fashion results were shared by the team members on FASHION and the values of an Erasmus+ industry; several occasions throughout the past two Strategic Partnerships project to academics, • develops and pilots three new years. In particular, two events are worth students and stakeholders from a variety courses in fashion and sustainability, being mentioned. At the beginning of June of geographic, economic and socio-cultural entrepreneurship and heritage in three 2019, the project team organised a one-day contexts, in a critical period of transition for European HEIs; workshop “Innovative Design for Fashion academia, industry and society. • fosters a functioning network of Education” in Paris in collaboration with complementary HEIs and fashion partners in Europe.

1 BOF (2015) Fashion School Survey 2015, Business of Fashion. 2 Edelkoort, L. (2015) Anti_Fashion Manifesto, Trend Union.

8 9 RE-FRAME FASHION Report Innovation in Fashion Education Sustainability in Fashion (Intellectual Output 1)

Developing a new course on sustainability in fashion The design of the new course on “Sustainability Based on the needs analysis, the in Fashion” has been possible thanks to new course Sustainability & Fashion Behind the preliminary needs analysis, which was the Scenes was piloted at Université Paris- organized along three complementary steps. Dauphine - PSL in the academic year 2019- First, a literature review was conducted 2020. The first edition was featured in the to collect and analyse information about Master Marketing & Strategy – Communication sustainability. Second, we conducted 33 field track (2nd year of the Master, with students interviews with a diversity of fashion industry mainly from the Bachelor in Economics & professionals on the current transformation of Management). The course was delivered to the sector and the needs that they perceived in a group of 33 student, most of whom were terms of education (expected technical skills, French. Students had no previous education global knowledge and behaviours). Third, we or specialization in fashion but were invited to gathered information on fashion education, dive into the sector as a context to reflect on to understand the current offer and potential current marketing and strategy discourses and mismatch with industry needs. This work practices. The aim was to sharpen their critical helped us outline important directions to thinking about their future profession. develop and pilot the course. The course invited them to look behind Three main needs were explored: the scenes to understand current debates in the fashion industry. The course was organized 1. The need to approach the many facets along six themes that emerged from the needs of sustainability, questioning the analysis: the consumption of clothes, the environmental and social impact of production of clothes, the design of clothes, fashion, micro and macro challenges, the choice of materials, the role and impact development and growth objectives of communication, and the work environment (with data and questions both specific (local and global). and non-specific to the fashion industry); The main learning objectives were as follows: • Students should be able to develop 2. The need for a detailed understanding a detailed understanding of the of the industrial process and value environmental and societal impact of chain, from resources to customer current practices and discourses in the value propositions; fashion industry; • Students should be able to sharpen 3. The need to approach sustainability their critical thinking about the debates as a systemic and complex issue that around sustainability in fashion; requires a change in organisational • Students should be able to and learning processes (breaking silos, communicate and discuss current learning to step back and develop sustainability issues with a diversity of critical thinking). actors from the industry; • Students should be able to collect and analyse empirical data on sustainability and fashion; • Students should be able to develop innovative proposals.

10 11 RE-FRAME FASHION Report Innovation in Fashion Education

Piloting a new course on From offline to online education sustainability in fashion

Students were introduced to fashion with a The course was developed to be interactive with who attended most of the sessions together site visit to École nationale supérieure des Arts active student participation. However, it needed and were able to reflect collectively on the Décoratifs - Paris (EnsAD) and a guest lecture to re-adapt following the lockdown measures teaching experience. Furthermore, the course by Darja Richter-Widhoff, a fashion designer, due to the COVID-19 pandemic in March was shared with two additional lecturers who lecturer at EnsAD and Paris Fashion School 2020. The one-week study trip in the North of are now involved in the second edition of the by PSL (École Nationale de Mode et Matière, France, Belgium and Netherlands needed to course. Last but not least, the entire RE- EnaMoMa). Students were asked to bring a be cancelled. According to the original plan, FRAME FASHION project team was in constant garment that they would want to dispose of it included 1) visits to the Plateau Fertile in interaction to discuss the development and and start addressing issues that would then be France, Libeco and Debruyne in Belgium, and piloting of the new course. The next edition tackled during the course. Denim City in the Netherlands, 2) two half-days of the course is being guided by key lessons Every week, a group of students to do ethnographic research on how sustainable learned: was in charge of presenting and discussing brands and places were communicating in • Balancing theoretical and empirical one of the six themes, using empirical and Lille and Amsterdam, 3) a day in Denim City in content is key. The richness of theoretical insights from the course reading as Amsterdam, where students from Université interactions with stakeholders and well as additional evidence they would collect Paris-Dauphine - PSL and Erasmus University peers relies on appropriate methods by themselves. The documents compiled by Rotterdam would work together on key issues to engage students to think critically. the lecturers included academic articles and in the denim industry along with the entire The database of resources that was books, newspaper articles, reports, online RE-FRAME FASHION project team and denim compiled is thought of as a large courses, notes from field interviews, and links partners. reservoir of knowledge that students to audio and video sources. Extra time was also The course continued online, and the can explore and use with key orienting dedicated to coach students for their group expected interactions between students and questions in mind. work. lecturers was maintained. The sudden switch • The workload for active pedagogy can During the entire course, students to online teaching was made easier by the fact rapidly become too high for students, were invited to write a logbook to reflect on key that the course started physically with key but also for lecturers. It is important learnings for their personal and professional meetings with stakeholders (experience within a to consider the course inside the full life. They were also encouraged to engage design school and a design teacher for the first curriculum of studies and leave time with industry professionals in order to further session, meeting with an entrepreneur for the when needed for readings, group work their understanding of current debates around second session, visit of factories for the third and feedback. sustainability. For example, they met Aurélia session). Unfortunately, the challenge proposed • A good method to foster critical Wolff, the founder of WHOLE, who shared by Le Coq Sportif was also impacted as the last thinking. One tool that was successfully her experience and vision as an entrepreneur session of the course was supposed to be held used by several students was the and expert of natural dyeing. Students were at Université Paris-Dauphine - PSL, with group regular writing of a personal logbook. also invited to participate in a challenge presentations to the top management team of As a complement to this tool, some proposed by Le Coq Sportif, to reflect on their the company. As a digital solution, recorded methodological devices can also help communication strategy on sustainability. videos and reports were sent to Le Coq Sportif, students understand the point of view In order to do so, they had a full day visit to which responded with written feedback. of people different from them (i.e. the factories of Le Coq Sportif and partner roleplay, scenarios). companies in Romilly sur Seine and Troyes • Having a team of lecturers preparing in France. They observed the productive What’s next? classes and delivering them together and social realities of factories in their local provides a richness of perspectives. environment and delved into the impact of key In the academic year 2020-21, the new course The first edition of the course industrial steps, such as knitting and dyeing. has been included in three curricula. It is could count on the RE-FRAME The assessment of the course was offered again in Master Marketing & Strategy, FASHION project team which offered based on two group works (theme presentation not only in the Communication track, but also interdisciplinary and international and challenge proposal) as well as on an in the Luxury track; it is also featured as a core insights. The next edition of the course individual report of 3 to 5-pages, where they course on Sustainability in the Master Fashion at EnaMoMa by PSL can experiment reflected on their key learnings from the course, & Materials at EnaMoMa by PSL. Feedback with a transdisciplinary team of as a consumer, as a citizen and as an industry from students was gathered through a student lecturers. professional. evaluation form elaborated by the RE-FRAME • Fashion acts as a context to reflect FASHION project team and adapted to each upon transversal sustainability of the three courses as well as the experience challenges. Not all resources and report that each student had to write. The interactions in the courses have to be course was taught by a team of three lecturers focused on fashion. • Approach sustainability as a process to engage partners in a shared learning experience with the students.

12 13 RE-FRAME FASHION Report Innovation in Fashion Education Entrepreneurship in Fashion

(Intellectual Output 2) one hundred very small fashion • Students should be able to design the independent companies, is extremely retail system, pricing strategy and Developing a new course on entrepreneurship in fashion important. This is true not only for the social media of their company; service per se that they are offering, • Students should be able to develop a The design of the course on “Entrepreneruship in Fashion” has been but also as a sort of mentor for the new business model canvas and business possible thanks to the needs analysis, including the literature review entrepreneurs, working also as a sort of plan. and field studies. Collaboration between academia and practice is not informal consultant, a grey eminence, very common in Poland, therefore it was rather challenging to access non-visible, but very much active. Piloting a new course on fashion partners for the needs analysis. Eventually, a few enthusiastic • Sustainability is not an issue yet. Some Polish fashion brands, well known brands SOLAR and LPP, very young exceptions already exist, but they are a entrepreneurship in fashion brands Marie Zélie, WEARSO, Eleonora Portara, BOHOBOCO, and the sort of vanguard, very distant from the marketing agency You’ll agreed to be the focus of a case study to be used rest of the sector. The idea and ambition was to equip students during the course. Having on board a marketing agency turned out to be and prospective graduates with tools that a crucial asset as entrepreneurs pointed out that nowadays reaching a Based on the needs analysis, the new would enhance their success in all kinds of specific group of customers is the real challenge. A total of 12 interviews course “Entrepreneurship and Creativity in ventures, including fashion related ventures. have been conducted with Polish fashion stakeholders. Additional desk Fashion” has been introduced to the curriculum The course started with an introduction to research allowed us to identify the following key needs: of the Master International Management the fashion industry, including issues related (IM) at Gdańsk University of Technology in to sustainability and cultural heritage. The • Poland’s market economy can be the academic year 2019-2020. The course presentation and a documentary movie considered as still young, dynamic, was delivered in the last semester of this “Political Dress” (Judyta Fibiger, 2014)3 turbulent and looking for its identity. programme as a compulsory course to the discussing the “liberating” role of fashion in old The main challenge for the new fashion group of 40 students from Poland, Russia, socialist regimes, was shared with students. entrepreneurs is to understand the China, India, the Arab Emirates, Iran, Spain, During the first sessions of the course, students market, its segmentation, its needs, France and Italy. The students had no previous were divided into groups and invited to develop and its economic possibilities. education or specialization in fashion, they MindMaps addressing key sustainability issues. • The market as a social space in come mostly from management, economics This allowed them to familiarise with the Poland is different from the advanced and engineering, therefore, it has been method, choose and apply a tool (including European countries. Many factors important to build a common ground of Mindomo, Mindmeister, etc.) and critically intervene, including geography and knowledge on the fashion industry, including its reflect on possible solutions to the fashion weather conditions. For example, fame and challenges. Assuming that only a few sustainability issue. shopping as a synonym of walking in the students may choose a career in the fashion In the next sessions, students were streets and looking at the offers of the industry, we decided to apply methods and briefed with practical knowledge on how to main boutiques do not belong to Polish techniques which can be used in other sectors create a strong and compelling company culture. Big shopping malls and online too. image, how to finance new business ventures shopping are the main transaction The main aim of the course was to in the fashion industry, how to build the retail spaces. acquaint students with entrepreneurship system and create a pricing strategy, use • The market is segmented, but as a phenomenon, to increase their pro- social media to engage with customers and delineating the borders of each entrepreneurial attitudes and develop skills how to make a compelling business plan. segment is difficult. This is partly due necessary for the entrepreneurship process. The financial aspects of business ventures to non-economic reasons. Consumers Special emphasis has been placed on fashion in the fashion industry were introduced in Poland still prefer to buy cheaper business as one of the creative industries. This with a guest lecture by dr. Błażej Kochański products than expensive ones, and course was also aimed at sensitising students (Gdańsk University of Technology) and by the this is true regardless of their personal to sustainability issues and cultural aspects Polish fashion brand Marie Zélie. The course income. There is still a long way to of fashion and allowing them discover the has been created in cooperation with You’ll go towards a clear premium or top backstage of the fashion industry.The specific marketing agency, represented by its founder segment of the market. objectives were as follows: Joanna Staniszewska, and used the case • E-commerce creates a variety of • Students should be able to develop study of Polish fashion brand BOHOBOCO. opportunities in the sector. It is knowledge of the backstage of the Students conducted interviews with its co- opening the market to new entries, fashion industry; founder Michał Guilbert Lach and developed new companies, and new start-ups • Students should be able to identify a slogan and buyer persona for BOHOBOCO. that, especially in the the early stages, what qualities make a fashion As extracurricular activities, some students are testing the market and need entrepreneur successful; additionally prepared a media release for to keep total control of the costs. • Students should be able to present a BOHOBOCO. During the entire course, each In this framework the role of some full fashion project to investors; group of students worked on a business model e-platforms (for example, the platform • Students should be able to develop a canvas and presented the business models for called “Showroom”), hosting at least strong, compelling company image; new fashion companies during the last session. 3 Fibiger, J. (2014). Political Dress. Available on: https://www.youtube.com/watch?v=ut56-ZZo_FE

14 15 RE-FRAME FASHION Report Innovation in Fashion Education Heritage in Fashion

Students came up with a few new projects, (Intellectual Output 3) including TRAVELOT (clothes for travellers), VEGFASHION (clothes for vegetarians), WEAR Developing a new course on heritage in fashion IT! (functional clothes), McTYRON (plus size women and men), FEELING GOOD (clothes The design of the course on “Heritage in for minimalists) and two applications SIZING Fashion” has been possible thanks to a (helping customers to select the right size) and preliminary needs analysis and a literature STYLE ADVISOR (helping to create an individual review to collect and analyse information about style). You’ll marketing agency appreciated fashion, sustainability, entrepreneurship and the collaboration with the university, the heritage. We had 15 in-depth interviews and international student population and its more than 20 informal conversations with a variety of perspectives, as well as the sudden diversity of fashion industry professionals and experience with a digital learning environment. museum curators, to question them about the role sustainability, entrepreneurship and heritage play in the fashion sector, the role What’s next? fashion plays in the museum world, and the needs that they perceived in terms of education. In the academic year 2020-21, the course Four main needs were explored: Entrepreneurship in Fashion will be offered • The need to research the history again. Feedback from students was gathered of brands and design. Clearly through a student evaluation form elaborated companies use past designs as a by the RE-FRAME FASHION project team source of inspiration for new designs. and adapted to each of the three courses. In particular, fashion archives Furthermore, the entire RE-FRAME FASHION are becoming a valuable asset of project team was in constant interaction to companies to strengthen their narrative discuss the development and piloting of the and authenticity, for their (re)positioning new course. The course was developed to be and new entrepreneurial ventures. interactive with active student participation • The need to understand the role fashion and fashion partners. However, it needed to be archives, fashion museums and fashion readapted following the lockdown measures exhibitions play in the further evolution due to the Covid-19 pandemic in March of the fashion industry, as well the 2020. Students could only enjoy the first two challenges and opportunities posed by classes on campus, while the rest was online. digitisation of fashion heritage; Overall, the evaluation of the course was very • The need to further analyse how positive. Students appreciated its interactive heritage, in its material and immaterial character and the opportunity of meeting real forms (i.e. crafts skills, traditions), entrepreneurs in the fashion industry. They also adds a diversity of values to the fashion emphasised the universal nature of the methods industry; used in the classes and their usefulness in • The need to analyse how heritage can professional life. Over 80% of participants be used as an open source of inspiration confirmed that the content of this course was and entrepreneurial development. appealing and inspiring and that it challenged them to reflect on issues from different, This work helped us outline important multidisciplinary perspectives. directions to develop and pilot the course. Furthermore, we contacted the European Fashion Heritage Association (EFHA) to discuss major challenges that the organisation faces which the students could analyse in a case study approach. EFHA describes itself as “an international hub, in which fashion GLAMs (Galleries, Libraries, Archives and Museums), brands, researchers and creatives can share experiences and best practices in the field of digitisation, online access and valorisation of fashion heritage resources, contributing to the

16 17 RE-FRAME FASHION Report Innovation in Fashion Education

digital transformation in the domain” (https:// creative industries in general. The aim was to Stanfill (senior curator at Victoria and Albert agree) to the following selected statements: fashionheritage.eu/about-us/). Fashion archives sharpen their critical thinking about their future Museum in London) and Ninke Bloemberg have recently captured interest as high-end profession. (fashion curator at Centraal Museum in • The content of this course was brands have started building museums as their Utrecht), students developed five different cases appealing and inspiring; archives gain values. Fashion archives are part The main learning objectives were: studies. At the end of the course, students • The course challenged me to think of the cultural heritage of a place; they can help • Students should be able to develop a pitched the case studies during an online more deeply about themes to understand the period in which garments thorough knowledge and understanding session to a jury consisting of Marco Rendina, • The course has been of added value to were designed; the community which has of how the fashion industry and Carla Gatt, Susanne Vegter (founder and my professional skills; produced them; the persons that have worn heritage are intertwined. director of STUDIOVEGTER) and Lorenzo Duchi • I found case writing helpful to better them; the material of which they are made and • Students should be able to discuss (Education Development Officer at ErasmusX). understand my skills and competencies. the origin and the technology and know-how and evaluate fashion heritage from the The best two cases studies and teaching notes that have made their creation possible. They are perspectives of business history and have been published and are now featured in Asked about the strengths of the course student also a source of inspiration for new creations. cultural economics. The Case Centre. According to Susanne Vegter, emphasized the connection with practice, the Fashion archives may respond to different • Students should be able to examine one of the jury members: ”many companies are course location in a co-working area of the functions and values. They also have different a case-study in fashion heritage struggling with complex issues and could benefit university (the new Education Lab), the ambition potentials and problems for their use and re- and identify, interpret and critically from a new objective perspective with scientific and initiative to invite different professionals use, both in the physical and digital spaces. appraise the problem in the specific foundations”. and academics, case-based learning and Topics that were covered during the case (written and orally). The course was developed to be highly interaction with the field and fashion experts, course were amongst others: economics of interactive with active student participation. and working on real challenges. Students also fashion, heritage and crafts; fashion museums However, it needed to be readapted following had suggestions to improve the theoretical part and archives; storytelling and the sleeping Piloting a new course on the lockdown measures due to the COVID-19 of the course. According to some students more beauties (or in other words, the revitalisation heritage in fashion pandemic in March 2020. The second half of academic debate was needed. The practical of dead brands); heritage, sustainability and the course went online and the one-day trip to approach was highly appreciated, in particular innovation in the denim industry. In particular, Case-based learning was at the core of the new Denim City in Amsterdam was cancelled. The the case study writing, but more theoretical storytelling appeared to be an important tool course on “Heritage and fashion”. During the day trip was designed to allow students from guidance and debates on the mandatory for the fashion industry due to the necessity to entire course, five groups of students worked Erasmus University Rotterdam and Université literature would have been helpful for the final differentiate the various products or brands and on a case study on the European Fashion Paris-Dauphine - PSL to work together on key essay. For the next edition, the inclusion of to add emotional value to them. Heritage and Heritage Association (EFHA). In the first week, issues in the denim industry along with the fashion professionals, real challenges, and the tradition are at the core of storytelling. Even Marco Rendina, managing director of the entire RE-FRAME FASHION project team and case study learning approach will remain as new fashion products and brands are imbued European Fashion Heritage Association (EFHA), denim partners. the strong points of this course. However, more with a historical flavour and sense of legendary introduced the association and the challenges space will be dedicated to theoretical debates quality, with the help of storytelling and revived it faces. At the same time, students received on heritage and fashion as students pointed craftsmanship. training by Carla Gatt, senior case writer at the What’s next? out. Based on the needs analysis, the new RSM (Rotterdam School of Management) Case course “Heritage and Fashion” was piloted Development Centre. She introduced students In the academic year 2020-21, the course will at Erasmus University Rotterdam in the to case-based learning, in particular how to be featured again in the Master in History, track academic year 2019-2020. The first edition write case studies and teaching notes. Each GLOCAL, Global Markets Local Creativities. was featured as a compulsory course in the group of students chose a specific challenge Feedback from the course was gathered Master in History, track GLOCAL, Global faced by the European Fashion Heritage through an evaluation form elaborated by Markets Local Creativities, and as an elective Association as the focus of their analysis for the the RE-FRAME FASHION project team and course in the Master Cultural Economics and entire course. Students worked together toward adapted to each of the three courses as well as Entrepreneurship. The course was delivered to writing a case study, teaching notes and final the experience report that each student had to a group of 21 students from Brasil, Bulgaria, presentation on this subject with the main aim write. The course was taught by a team of two Colombia, The Netherlands, Russia, Serbia, of stimulating their analytical skills and creative lecturers who attended most of the sessions Thailand, Taiwan, Ukraina, United States thinking. together and were able to reflect collectively and United Kingdom. The students had very Inspired by presentations from on the teaching experience. Furthermore, the different backgrounds, from history, design, high quality guest lecturers such as dr. entire RE-FRAME FASHION project team was in arts and culture to economics, international Anna Mignosa (senior assistant professor in constant interaction to discuss the development relations, and sociology; they had no previous economics of heritage and crafts at Erasmus and piloting of the new course. Generally, education or specialisation in fashion but were University Rotterdam), Marion Poortvliet students were positive about the course. A invited to dive into the sector as a context to (founder of Crafts Council Nederland), Sonnet majority of the students (more than 75%) reflect on current issues linked to heritage, and responded with a 4 or 5 (agree and completely

18 19 RE-FRAME FASHION Report Innovation in Fashion Education Methodology Development (Intellectual Output 4)

A taxonomy of methods for students’ engagement and stakeholder involvement

RE-FRAME FASHION aimed to innovate fashion education and test methods to teach fashion and sustainability, entrepreneurship and heritage in HEIs with the involvement of stakeholders. The development of the three new courses was prepared through a literature review, a series of interviews with fashion industry professionals and an analysis of available teaching methods that foster critical thinking and involvement of stakeholders. Field trips and guest lectures by academics and professionals are among the most common ways to allow students to interact with the field. However, there is an array of methods that allow for a higher level of interconnectedness between lecturers, students and the professional world, which pushes students to practice critical thinking, entrepreneurial and communication skills. Academic education and knowledge should be developed in close collaboration with business and society to understand the needs of the industry and the challenges facing society. These methods can use academic analytical tools and knowledge to increase the social impact of academia and also link students to potential future employment. In the words of a fashion professional:

«Students can deliver a very important contribution to the trajectory of change management. During these times it is important to talk with employees of companies and discuss what keeps them busy in the company itself. There is a need for research to map out the whole fashion industry. Within the fashion industry, creativity plays an important role and is often influenced by gut feeling. However, with the current radical changes within the field, more attention for research and knowledge about the whole industry is needed. Re-Frame Fashion students could be the ones who map out the needs of the industry and make connections between disciplines. They could be the ones who will uncover certain gaps and show the new professions that are desired. In general, these students are able to ask the right questions at the right moment, and connect the dots to eventually form a logical and coherent story. For this, creative, analytical and academic skills are very important.»

Susanne Vegter (founder and director of STUDIOVEGTER)

20 21 RE-FRAME FASHION Report Innovation in Fashion Education

One of methods largely deployed in kind of industry. Pitching is often done in front Highlights from teaching academic teaching, especially in business of a jury involving lecturers and professionals. schools, is the use of case studies. Case The pitched project is usually linked to a real sustainability and fashion studies are stories that present a complex challenge that the partner organisation faces. disciplinary problem or dilemma, stimulating Another method commonly used The course on sustainability in fashion at classroom discussions and collaborative is Design Thinking, an iterative approach Université Paris-Dauphine - PSL involved a analysis. The case analysis method allows for which begins with the end user in mind. The long list of fashion designers and other fashion an interactive, learner-centred exploration Design Thinking process aims to breakdown industry professionals, bringing to students a of realistic situations. Case-based learning is preconceived notions to find new ways of wide perspective of sustainability challenges used across disciplines, where students can addressing problems that may not be obvious the industry faces. The field visit to the apply their knowledge to authentic, real-life from the outset. It is both a frame-of-mind production sites of Le Coq Sportif (the official situations thus promoting higher levels of as well as an applicable approach, and, as partner of Université Paris-Dauphine - PSL for cognition (analysing and evaluating). It provides such, lends itself to a range of methods. this particular course) and the sustainability students with an opportunity to see theory Design thinking processes can have anywhere challenge students had to work on and pitch in practice and the development of analytic, from three to seven stages; the five most to the company allow the students to delve communicative and collaborative skills required important phases of this method are as follows: into the topic, discuss it with the actors of future professionals. Using cases in the empathise (with users), define (users’ needs, involved, reframe problems and solutions. The teaching process gives students the ability to their problem, and designer insights), ideate experience in Université Paris-Dauphine - PSL understand different situations in different (by challenging assumptions and creating ideas was a combination of case studies, learning by manners. As the case is rich in details, it allows for innovative solutions), prototype (to start doing, design thinking and pitching. It enabled for learning not only theoretical but also creating solutions), test (solutions). students to frame the issue from a variety practical concepts in different case situations. The power of art finds its way in the of perspectives and come up with innovative Introductory, intermediate, and advanced Art Thinking method which aims at creating answers to the confronted issues (group work). cases can be developed with and for students the improbable with certainty. In the 21st Furthermore, the logbook pushed them to at different levels of education. It is much less century, professionals need to become reflect individually about the key learnings of common to involve students in case writing experts in the creation of the improbable the course for their personal and professional which requires familiarizing students with the to avoid obsolescence; companies need to life. methodology of case-based learning, both develop improbable business models in order writing and teaching. Case writing represents a to compete with machines; humans need to «Despite a complex semester with a restriction of our activity, I more exciting approach to teaching, which can be good at creating the improbable to solve was pleasantly surprised by the course that we were able to follow in a help students take even more responsibility for the ecological crisis and design improbable concrete way, or should I say in a ‘non-digital’ way. I really enjoyed the their own learning, both inside and outside the solutions for paradigmatic shifts. Creative fact that we were able to go out on the field, something that we are not classroom. Given the higher complexity, case workshops on art thinking can help students to used to doing in our University. Thanks to that I felt rapidly engaged in writing is recommended to students in their learn and experience entrepreneurship through the theme, as when we started our first session at the École nationale master studies. art. With the Art Thinking method, students supérieure des Arts Décoratifs - Paris (EnsAD). The talk with Aurélia Another way to get students think through their approach and perspective Wolff and our field trip in Troyes and Romilly-sur-Seine to discover Le acquainted with practice is the learning by while making an artwork to generate skills Coq Sportif allowed us to discuss with professionals who were passionate doing method, where students are invited to related to creativity, entrepreneurship, about and experts in their work. The field trip also led us to step out develop projects inside an organisation. It is leadership, and efficiency. of our comfort zone and become aware of what is going on behind the a hands-on approach to learning, meaning While the next section provides scenes, learning about the issues that the people who work in this sector students must interact with the environment an overview of the methods used in the are facing every day. We were able to realize the constraints as well as of the organisation in order to adapt and learn. three courses, members of the team have the efforts that companies have to put forward if they want to behave This method emphasises the need to apply experimented with and tested some of the responsibly and ethically.» experience and actions rather than pure theory. methods listed above in other courses too. In In this particular approach, the curriculum has particular, it is worth mentioning the Design Elena (student) to combine time spent in class and time spent in Thinking workshop “How next generation the company. physical & digital shopping experiences can Storytelling and pitching are wide empower sustainable fashion”, organised by spread methods in both the business world and dr. Mariangela Lavanga, together with ISAAC, academia, from top executives and managers to a Dutch company specialised in VR and AI, in entrepreneurs and students. Training is offered March 2019. The workshop was part of the to learn how to create a pitch, that is to say a course Economics of Fashion, Design and short and memorable message to gain support Architecture, part of the Master in Cultural from the audience for a given project. This Economics and Entrepreneurship at the method is based on a 3-step canvas (1- Facts; Erasmus University Rotterdam. Students valued 2- Story; 3- Design) and may be used in any the workshop as truly innovative.

22 23 RE-FRAME FASHION Report Innovation in Fashion Education

Highlights from teaching Highlights from teaching entrepreneurship and fashion heritage and fashion

The course on entrepreneurship and fashion Case-based learning, in particular case writing, to the challenges faced by EFHA and they at the Gdansk University of Technology was at the core of the course on heritage and received training on how to write cases. has been developed in partnership with fashion at the Erasmus University Rotterdam. It Based on that, they could work in groups the marketing agency You’ll, a company was developed in close cooperation with RSM on developing their own teaching case and involved in promotion of new and already Case Development Centre and the European teaching notes. In a timeframe of eight weeks, established brands. After being introduced Fashion Heritage Association (EFHA). Apart each group of students wrote a case study and to the world of fashion and of its cultural from a few exceptions, case-based learning, teaching notes based on one of the challenges and sustainability dimensions, students got and in particular case writing by students, is proposed by the EFHA and pitched them in training on business model development (or not commonly used in the education offered front of a jury. The entire team of lecturers lean canvas) and hands-on financial aspects at the Erasmus School of History, Culture and as well jury members were astonished by the of running a fashion business, including the Communication (ESHCC). Extra support was innovativeness of the proposed solutions. The pricing policy. The direct involvement of the needed to train both lecturers and students on best two cases were published and are now company founders throughout the course made case-based learning, and in particular on how featured in The Case Centre (see Appendix B). students experience case studies and learning to write teaching cases and teaching notes. They can be used, reused and adapted to a by doing methods. Through group work, Further support was received by the HOKA variety of curricula worldwide. The case studies students developed business models for their (Hoger Onderwijs Kwaliteits Afspraken, Higher use a business history, cultural economics and own fashion venture ideas and pitched the final Education Quality Agreements) funding for entrepreneurship approach. This approach outcome to the company. innovation in education in Dutch universities, is unique to unravel the values of culture by Léonie Ridderstap (the ESHCC Education beyond price and profit, encompassing not «The project, unlike other projects, wasn’t a cliché. The Innovation Consultant) and by the Community only financial issues, but social, environmental assignment itself was creative, related, hands-on work, realistic and for Learning and Innovation (CLI) at Erasmus and cultural ones too. The fashion industry is time respectful. During this course I learned how to build up a business University Rotterdam. Marco Rendina, in need of new approaches to face a variety from scratch: from choosing the name and logo, gathering a team, managing director of EFHA, was available of new challenges (e.g. sustainability, cultural picking up how many employees I need and in which parts do they need to provide information and answer students appropriation, gender and racial issues). Case- to operate, and the financial requirements of all that. Where do we questions throughout the entire course. Case based learning in humanities has the potential start? We learned how to visualize and extract what’s in our mind by writing is a much more intensive way of to train students to deal with uncertainty, using mind mapping applications and software, how to look critically case-based learning. The responsibility for which is one of the main features of the fashion and find problems in particular sectors and how we could turn them into the content of students’ learning increased industry. opportunities to develop new business opportunities. I learned how to do substantially in comparison to the traditional marketing for my product, how to make media release announcements case study method. Students were introduced and more importantly looking at “Why” rather than “What”, why people should buy my product and not what is my product.» «What I liked most about the Heritage and Fashion course was the Hossein (student) opprtunity to hear perspectives from insiders and stakeholders of the fashion industry, from museum curators to digital archivists. Through the lens of fashion, I was able to learn the role digital archives play in preserving heritage, while also opening new opportunities to collaborate and challenge preconceived ideas of both concepts, especially among industry outsiders (such as students, consumers, and history enthusiasts). The case study assignment we did to solve one of four challenges faced by the European Fashion Heritage Association (EFHA), brought these interesting perspectives to light.» Wing So (student)

24 25 RE-FRAME FASHION Report Innovation in Fashion Education

Conclusions Disruption of education and the strength of an Erasmus+ project

Innovating teaching simultaneously in three Summing up more than two years of working that most of the students involved in the different countries is already a challenge in together, it must be said that all European courses had no previous fashion education, itself. It is worth saying that all these interesting partners and stakeholders found it a fascinating came from many different countries in the outcomes and experiences were acquired journey in search of the best solutions for world and had quite a diverse educational despite the Covid-19 pandemic situation that innovating fashion education and transitioning background. Piloting the courses with them froze the world at the beginning of March 2020 towards an impact-driven education. Every highlights how fashion can indeed be used and resulted in the closure of the universities phase of the project brought in new knowledge as a lens to teach about sustainability, and in the transfer of education to the virtual and perspectives about the world of fashion, its entrepreneurship, and heritage, discuss space. Depending on the advancement of highlights and shadows, needs that needed to broader societal challenges and frame the teaching in each of the three universities, be tackled. Fashion, as many other industries, problems and solutions. In conclusion, the between 30-70% of classrooms were delivered is in need of a generation of professionals who three courses can be implemented in both using BlueJeans, Zoom, MsTeams or Cisco are able to cut across disciplines, who have an fashion and non-fashion related curricula, Webex platforms. Switching to online teaching international experience and who are brokers in thus allowing for a much broader and in the middle of a course was challenging for forming strong partnerships between academia, transdisciplinary perspective to fashion both lectures and students, but eventually the business community and society. The education. The best two cases and teaching it worked quite well. Clear guidelines for RE-FRAME FASHION project experimented notes written in collaboration with the assignments and feedback by lecturers and and succeeded in developing and piloting a European Fashion heritage Association stakeholders throughout the course certainly more impact-driven education. The team is (EFHA) are also now published and they can helped. looking forward to engaging more partners in be used, reused and adapted to a variety of The cancellation of the study trip of the journey towards an International Master curricula worldwide. the students from Université Paris-Dauphine in Fashion Industry (IMFI) which is inter- and • To foster a functioning network of - PSL to the Netherlands was a pity. The entire transdisciplinary, inclusive and international. complementary academic partners and RE-FRAME FASHION team had planned a other stakeholders. Some partners, for joint seminar in Denim City in Amsterdam and The team managed to realise the objectives instance Gdańsk University of Technology, invited several guest lecturers and experts to of the project and reached a broad variety of were never involved in teaching and discuss sustainability, entrepreneurship and stakeholders, from academics and students, to researching the fashion industry. Therefore, heritage in the Denim industry. The planned cultural organisations and fashion companies RE-FRAME FASHION offered a fascinating staff exchange during the courses was cancelled across Europe. The project has thus met its opportunity to enlarge the existing as well. main goals: network of stakeholders from a variety Despite these challenges, the RE- of disciplines, approaches, cultures and FRAME FASHION project team kept its • To develop a need analysis in close historical contexts. The team is looking cohesiveness and continued working together, cooperation with fashion industry partners forward to engaging new partners in the discussing the courses and the challenges in Europe. Sixty fashion stakeholders journey towards the International Master linked to switching to online education in three were interviewed and several of them in Fashion Industry (IMFI) which is different universities in different European committed to the development and piloting inter- and transdisciplinary, inclusive and countries. The Erasmus+ Strategic Partnerships of the courses; the RE-FRAME FASHION international. project allowed for a deeper reflection by team was invited to and attended many • To encourage non-academic stakeholders the project team of its own practices and fashion-related events and symposia and to contribute to the curriculum, quality approaches, accounting for a variety of had continuous conversation with fashion enhancement and internships. For geographic, economic and socio-cultural stakeholders; some partners, it has been their first contexts, in a critical period where academia, • To develop and pilot three new courses involvement in academia, very challenging industry and society are deeply changing. The addressing current educational and labour- and appealing. They felt privileged to be team is looking forward to continuing working market needs that the fashion industry considered as an important stakeholder together, enlarging the network of partners, faced, in close collaboration with fashion in education. The project results are building on the new courses and methods and stakeholders. The three courses on fashion therefore relevant and interesting to non- inspiring other academics, professionals and and sustainability, entrepreneurship and academic stakeholders. Contributing to the students to engage in innovative education that heritage were successfully piloted and are curriculum development allows for a fresh is transnational and transdisciplinary. now featured not only in the same master and broader perspective to challenges the programmes, but also in a track in Luxury industry faces, a reduction of the skills gap and in the Master Fashion & Materials in the labour market, talent recruitment and at EnaMoMa by PSL. It is worth noticing selection.

26 27 RE-FRAME FASHION Report Innovation in Fashion Education

Last but not least, the sudden disruption of education caused by the Covid-19 pandemic during the piloting of the courses in March 2020 forced the entire RE-FRAME FASHION team to quickly adapt to online teaching, experiment with a variety of digital learning tools and practice digital skills. Being fashion weeks, trade fairs, and entire supply chains disrupted added extra relevance and urgency to the topics discussed with students and non-academic stakeholders. The team distinguished itself for its cohesiveness, resilience and empathy. Students continue to be actively engaged in the online environments and become critical readers of the changes affecting the world, as shown in their essays, case studies, logbooks and other assignments. Non-academic stakeholders were able to see the final results of students’ projects and provide them with feedback. However, everyone could count on several weeks (or months, for some students) of physical education and proximity that encouraged the formation of a community of practice that could continue working safely and respectful together in the digital world. RE- FRAME FASHION showcases how high quality education can contribute to building societal and personal resilence too. In conclusion, RE- FRAME FASHION managed to contribute to the acquisition of sustainability skills, cognitive and emotional attitudes, interdisciplinary knowledge, community and social learning, aspects that are highly valued by the European Commission.

«Holding out in the short term! [To do this] the enhancement of know-how and the proximity dimension are concepts that are understood and increasingly valued, but the lack of qualified labor and suitable professional training is a definite obstacle and poses a problem in the long term. [...] The coming months and years will be crucial. In this sense, European policies, European environmental standards will be decisive. Europe should be the leading geographical area for the future segment: qualitative, sustainable and general public products, social policies respectful of people, proximity which allows to keep a real human contact with the production.»

Sabine Le Chatelier Saunier (independent design consultant & creative advisor)

28 29 RE-FRAME FASHION Report Innovation in Fashion Education

Appendix A - Main literature used in the courses

Sustainability in Fashion

Baudrillard, J. (1970) La société de consomma- Vicérial, J. (2019) “Du sur-mesure au prêt-à Ries, E. (2011) The lean startup: How today's Clark, J., De La Haye, A. and Horsley, J. (2014) tion, Gallimard. porter”. In Clinique vestimentaire, PhD entrepreneurs use continuous innovation to Exhibiting fashion: before and after 1971. Brooks, A. (2015) Clothing poverty. The Hidden Dissertation. create radically successful businesses. New New Haven [Connecticut]: Yale University World of Fast Fashion and Second-Hand York: Crown Business. Press. Clothes, Zed Books. Wubs, B. and Blaszczyk, R. (2018), Fashion forecasters: A hidden history of color and Popowska, M. and Nalepa, P. (2015) “Lean Cominelli, F. and Greffe, X. (2013) “Why and Brooks, A., Fletcher, K., Francis, R.A., Rigby E. trend prediction, Bloomsbury Academic. Startup as a New Way of Managing how intangible cultural heritage should be and Roberts T. (2017) “Fashion, sustainability, Technology Ventures Illustrated by the safeguarded”. In Rizzo, I. and Mignosa, and the anthropocene”. Utopian Studies, Example of Wlcome App”. Studia i Materiały, A. (eds.), Handbook on the Economics of 28(3), pp. 482-504. Entrepreneurship in Fashion pp. 7-21. Cultural Heritage. Edward Elgar Publishing.

Edelkoort, L. (2015) anti_fashion manifesto, Donzé, P.-Y. and Wubs, B. (2018) “LVMH: Popowska, M. (2016). “Shaping new Dion, D. and Mazzalovo, G. (2016) Reviving Trend Union. storytelling and organizing creativity in luxury generations of managers and consumers. sleeping beauty brands by rearticulating and fashion”. In Blaszczyk, R. and Pouillard, Corporate Social Responsibility brand heritage. Journal of Business Ellen MacArthur Foundation (2017) A new V. (eds.), European Fashion: The Creation of implementation and higher education system Research, 69(12), pp. 5894-5900. textiles economy. Redesigning fashion’s a Global Industry. Manchester: Manchester in Poland”. In Idowu Samuel, O. (ed.) Social future. University Press. Responsibility Education across Europe: A Donzé, P.-Y. and Wubs, B. (2018) “LVMH: Comparative Approach, Springer, pp. 115- storytelling and organizing creativity in luxury Fletcher, K. (2010) “Slow fashion: An invitation 138 and fashion”. In Blaszczyk, R. and Pouillard, for systems change”. Fashion Practice, 2(2), Dion, D., Mazzalovo, G. (2016) “Reviving V. (eds.), European Fashion: The Creation of pp. 259-265. sleeping beauty brands by rearticulating a Global Industry. Manchester: Manchester brand heritage”. Journal of Business Research Heritage in Fashion University Press. Godart, F. (2012) Unveiling Fashion. Business, 69, pp. 5894–5900. Culture, and Identity in the Most Glamorous Blaszczyk, R. and Pouillard, V. (2018) “Fashion Friedman, V. (2019) “The lost Jewish brands Industry, Palgrave MacMillan. Darpy, D., Lasri, S., Loupiac, P. (2019) ICICLE: as enterprise”. In Blaszczyk, R. and Pouillard, of Berlin”. New York Times, 5 December international development of a Chinese eco- V. (eds.), European Fashion: The Creation of [online]. Available at: https://www.nytimes. Gwilt, A. (2020) A practical guide to sustainable friendly fashion brand, CCMP Publishing. a Global Industry. Manchester: Manchester com/2019/12/05/style/manheimer-lost- fashion, Bloomsbury Visual Arts, 2nd edition. University Press. jewish-brands-of-berlin.html Ko, E. and Lee, S. (2011) “Cultural heritage Guillard, V. (ed.) (2019) Du gaspillage à la fashion branding in Asia”. Advances in Fujioka, R. and Wubs, B. (2018) sobriété. Avoir moins et vivre mieux? De Culture, Tourism and Hospitality Research, Brydges, T., Lavanga, M. and von Gunten, “Competitiveness of the Japanese denim Boeck Supérieur. Tourism Sensemaking: Strategies to Give L. (2014) “Entrepreneurship in the fashion and jeans industry: the cases of Kaihara and Meaning to Experience, 5, pp. 80-109. industry: a case study of slow fashion Japan Blue, 1970-2015”. In Blaszczyk, R. & Jongerius, H. and Schouwenberg, L. (2015) businesses”. In Schramme, A., Hagoort, G. Pouillard, V. (eds), European Fashion: The Beyond the new. A search for ideals in design, British Council Macedonia, (2017) and Kooyman, R. (eds.) Beyond Frames. Creation of a Global Industry. Manchester Design Indaba Conference. FASHION AND CULTURAL HERITAGE: Dynamics between the creative industries, University Press. An interdisciplinary approach in their knowledge institutions and the urban Mensitieri, G. (2018) Le plus beau métier du interconnection. context. Delft: Eburon Academic Press/ Goto, K. (2013) “Policy for intangible monde, dans les coulisses de l’industrie de la University of Chicago Press, pp. 93-79. cultural heritage in Japan: how it relates to mode, Editions La Découverte. De Chiara, A. and Iannone, F. (2020) creativity”. In Rizzo, I. and Mignosa, A. (eds.), “Sustainable innovation in fashion products, Brydges, T., Hracs, B.J. and Lavanga, M. Handbook on the Economics of Cultural Mossé, A. and Bassereau, J.-F. (2019) “Soft an opportunity for Italian SMEs”. In Silvestri, (2018) “Evolution versus entrenchment: Heritage. Edward Elgar Publishing. matters: en quête d'une pratique plus C., Piccarozzi, M. and Aquilani, B. (eds.) debating the impact of digitization, résiliente du design textile et matière”. Customer Satisfaction and Sustainability democratization and diffusion in the global Goto, K. and Mignosa, A. (2020) “The Sciences du design, 1(9), pp. 50-63. Initiatives in the Fourth Industrial Revolution. fashion industry”. International Journal of economics of crafts". In Bille, T., Mignosa, Fashion Studies, 5(2), pp. 365-372. A. and Towse, R., eds. Teaching Cultural Segrestin, B. and Levillain, K. (2018) La mission Behr, O. (2018) “Fashion 4.0 - Digital Innovation Economics. Edward Elgar Publishing. de l’entreprise responsable: Principes et in the Fashion Industry”. Journal of Chillas, S.A., Grewar, M.A. and Townley, B. normes de gestion, Presse des Mines. Technology and Innovation Management, (2018) “Rhythms of Production in Scottish Guarini, F. and L. Fiesoli (2014) “Prato: 2(1), pp. 1-9. Textiles and Fashion”. In Blasczyzk, R. and between tradition and the future”. In Stanfill, Thomas, D. (2019) Fashionopolis: The price of Pouillard, V. (eds.), European Fashion: The St. (ed.) The Glamour of Italian Fashion Since fast fashion - and the future of clothes, Head Osterwalder, A. and Pigneur, Y. (2013) Business Creation of a Global Industry. Manchester 1945. London: V&A, pp. 104-112. of Zeus. Model Generation. Hoboken, NJ: Wiley. University Press.

30 31 RE-FRAME FASHION Report Innovation in Fashion Education

Kambara, V. A. (2020) “Why Is Google Digitising digital age.” International Journal of Fashion Case-based learning (writing the World's Fashion Archives”. Business Studies, 3(2), pp. 225–248. of Fashion, 22 January, [online]. Available teaching cases and teaching at: https://www.businessoffashion.com/ Mignosa, A. (2019) “Policies for Crafts: notes) articles/digital-scorecard/why-is-google- Rationale and Tools”. In. Mignosa, A. and digitising-the-worlds-fashion-archives?utm_ Kotipalli, P. (eds.) A Cultural Economic Abell, D. (1997) “What Makes a Good Case?” source=welcome&utm_medium=email Analysis of Craft. Palgrave Macmillan, Cham. IMD.

Kapferer, J.-N. and Bastien, V. (2012) “Back to Nagourney, A. (2017) “Is This Los Angeles’s Berchicci, L., and Domingues Sanches, G. luxury fundamentals”. In Kapferer, J.-N. and $600 Million Man?”, New York Times, 18 (2013) Enviu: Starting World Changing Bastien, V., The Luxury Strategy; break the January [online]. Available at: https://www. Companies. RSM Case Development rules of marketing to build luxury brands. nytimes.com/2017/01/18/arts/design/ Centre. Available at: http://hdl.handle. London/Philadelphia/New Delhi: Kogan Page michael-govan-lacma-director.html net/1765/40388 Limited, pp. 3-37. Pratt, A., Borrione, P., Lavanga, M. and Farhoomand, A. (2004) “Writing Teaching Janssens, A.G. and Lavanga, M. (2020) “An D’Ovidio, M. (2012) “International change Cases: A Quick Reference Guide.” University Expensive, Confusing and Ineffective Suit of and technological evolution in the fashion of Hong Kong CAIS. Armour; Assessing the intellectual property industry”. In Agnoletti, M., Carandini, protection system available for fashion A. and Santagata, W. (eds.) Essays and Gentile, M. (1990) “Twenty-Five Questions to designers”. Fashion Theory, 24 (2), pp. 229- Researches. International Biennial of Cultural Ask as You Begin to Develop a New Case.” 260. and Environmental Heritage. Pontedera: Harvard Business School. Bandecchi and Vivaldi Editori e Stampatori, Lavanga, M. (2018) “The role of the Pitti Uomo pp. 359-376. Heath J. (2006) Teaching and Writing Case trade fair in the menswear fashion industry”. Studies. 3rd ed. The Case Centre. In Blaszczyk, R. and Wubs, B. (eds.), The Rosina, M. (2014) “Textiles: the foundation Fashion Forecasters: A Hidden History of Italian couture”. In Stanfill, S. (ed.)The Kleinsmith, N., Campion, M., Sweldens, S., of Color and Trend Prediction. London: Glamour of Italian Fashion Since 1945. and Puntoni, S. (2019) TomTom: Mapping the Bloomsbury Academic Publishing, pp. 191- London: V&A, pp. 76-93. Course from B2C to B2B. Available at: http:// 209. hdl.handle.net/1765/116053 Rossi, C. (2014) “Craft and ‘Made in Italy’”. Lavanga, M. (2019) “A spotlight on: sustainable In Stanfill, S. (ed.)The Glamour of Italian Linder, J. (1990) “Writing Cases: Tips and fashion in the Netherlands”. In Gwilt, A., Fashion Since 1945. London: V&A, pp. 94- Pointers.” Harvard Business School. Payne, A. and Ruthschilling E.A. (eds.) Global 101. Perspectives on Sustainable Fashion. London: Leenders, M. R., Mauffette-Leenders, L. A., and Bloomsbury, pp.97-99. Zanon, J. (2018) “Reawakening the 'sleeping Erskine, J. A. (2001) Writing Cases. 4th ed. beauties' of haute couture: the case of Guy Richard Ivey School of Business. Ling, W. and D. van Dartel (2019) “Global and Arnaud de Lummen”. In Blaszczyk, R. and Fashion as a Tool in the Ethnographic Pouillard, V. (eds.), European Fashion: The Willemstein, T., Gatt, C., and Chaudhri, Museum”. ZoneModaJournal, Vol.9 n.2: 71- Creation of a Global Industry. Manchester V. (2020) Balancing Exclusivity and 88. University Press. Sustainability in the Luxury Fashion Industry: #Burnberry. RSM Case Development Lister, J. (2018) “We Want Quant! Help us bring Wubs, B., Lavanga, M. and Janssens, A. (2020) Centre. Available at: http://hdl.handle. to life the first Mary Quant exhibition in 50 “Letter from the Editors: The Past and Present net/1765/124380 years”, V&A, 6 June [online]. Available at: of Fashion Cities”. Fashion Theory, 24(3), pp. https://www.vam.ac.uk/blog/news/we-want- 319-324. quant-help-us-bring-to-life-the-first-mary- quant-exhibition-in-50-years

Loscialpo, F. (2016) “From the physical to the digital and back: Fashion exhibitions in the

32 33 RE-FRAME FASHION Report Innovation in Fashion Education

Appendix B - Challenges developed in collaboration with the European Fashion Heritage Association (EFHA) and the two best cases published During the entire course, five groups of students worked on a case study EFHA: Connecting Academia with You are what you (co)curate: on the European Fashion Heritage Association (EFHA). In the first week, Fashion Heritage A participatory approach to Marco Rendina, managing director of EFHA, introduced the association fashion curation in the digital and the challenges it faces. At the same time, students received training world by Carla Gatt, senior editor at the RSM case development centre, on the Wing So, Efim Shapiro, Tamara Hofman, Darko nature of case studies and their teaching notes, along with how to write Stanisljevic, Mint Sirijindaphan, Carla Gatt, Shih-Po Weng, Joyce Stefanova, Fraser White, them. Each group of students chose a specific challenge faced by the Mariangela Lavanga, Ben Wubs (2020). EFHA: Ting Fang Yu, Mariangela Lavanga, Carla Gatt, EFHA as the focus of their analysis for the entire course. The following Connecting Academia with Fashion Heritage. Ben Wubs (2020). You are what you (co)curate: challenges have been introduced: RSM Case Development Centre. Retrieved from A participatory approach to fashion curation • Devise a plan to identify, measure, assess and manage the far- http://hdl.handle.net/1765/131115 in the digital world. RSM Case Development reaching types of impact (not only economic) of the EFHA and its Centre. Retrieved from http://hdl.handle. activities (Change Pathway Canvas, Strategic perspectives, Value Abstract net/1765/131112 lenses) The European Fashion Heritage Association • Propose a viable business model for the EFHA (Business model (the EFHA) aims to help fashion GLAMS and Abstract canvas generation) brands to get better value from their cultural The digitisation of cultural heritage started • Define strategies to engage different stakeholders (GLAMs, heritage assets by connecting them with new more than 20 years ago and brought about brands, students/scholars, archives, etc.) in the EFHA (including audiences. While doing research for a paper a few changes in the way culture is being value proposition design: how to create value for this kind of for her economics of fashion class, Carlijn, a produced, consumed, and perceived. Initially, customers) master’s student, discovered the EFHA and this process aimed at taking out the cultural • Propose ways of creating and/or diversifying curatorial activities the digital archive they offer. After navigating artefacts, which were stuck in the dusty of the EFHA (new platforms, new ways of communicating, through the archive and using the material for galleries, libraries, archives, museums, and engaging new providers of editorial content) her paper, she wanted to get more involved bringing them closer to both professionals from with the EFHA. She emailed Marco Rendina, the creative industries and non-professionals. Students worked together toward writing a teaching case, teaching the managing director of the EFHA to inquire Nevertheless, this approach is rather difficult notes and final presentation on this subject which stimulates students’ about the possibilities. Her inquiry resonated because even though there is a huge amount analytical skills and creative thinking. Eventually, two groups of students with Marco, who was keen on improving the of already digitised cultural heritage, those were chosen to publish their cases. student and scholar stakeholder engagement resources are not used that much, especially with the EFHA. The EFHA had engaged with in the segment of fashion heritage. What The two best cases were revised, edited and published. The teaching students through Wikipedia edit-a-thons and is the importance and the relevance of a cases and teaching notes are now featured in The Case Centre (https:// with scholars through their annual conferences. digitised cultural heritage? How can both the www.thecasecentre.org) and the RSM Case Catalogue (https://www.rsm. However, with the launch of Google Cultural organisation and its users benefit from it? nl/cdc/case-catalogue/). Institute’s digital fashion heritage project, We Wear Culture, the need to improve this Keywords: European Fashion Heritage stakeholder engagement had become one Association, GLAMs- Galleries, Libraries, of the opportunities the EFHA could take to Archives, Museums, Digitised Cultural heritage, distinguish itself from its new giant competitor. Artefacts, Online Platform, stakeholder The case study also identified some of the main engagement, curation, partnerships, networks challenges the EFHA faced, such as; engaging students and scholars, the ambiguity of stakeholder groups, difficult user- experience accessing digital archives, unclear partnership statuses, and external competitors like Google’s Art and Culture project.

Keywords: European Fashion Heritage Association, GLAMs, Galleries, Libraries, Archives, Museums, Online Archive, Platform, Partnerships, Students, Researchers, Stakeholders

34 35 RE-FRAME FASHION Report Innovation in Fashion Education Appendix C - RE-FRAME FASHION website & International Conference / Multiplier Event RE-FRAME FASHION - Innovation in Fashion Education

RE-FRAME FASHION website (https://www.eur.nl/en/eshcc/research/ re-frame-fashion) contains up-to-date information on the project results (including blogs, interviews, videos), the project team and the International Conference / Multiplier Event RE-FRAME FASHION - Innovation in Fashion Education.

You can always drop an email for extra information: [email protected]

Below we present the preliminary program:

13:00-13:20 Introduction

13:20-14:40 Project results

14:40-15:00 Break

15:00-15:45 Student take over

We would like to invite you to our online event 15:45-16:00 Break on innovation in fashion education on Friday, 4 De- cember, 13:00 – 17:00 CET. The event, organised 16:00-17:00 Roundatable: ReFrame, by the Erasmus University Rotterdam (EUR), pres- COVID-19, and the Future of ents the results of the RE-FRAME FASHION proj- the Fashion Industry ect, co-funded by the Erasmus+ KA2 Strategic Partnership Programme of the European Union. 17:00 Closing The aim of the international project Re-Frame Fashion is to investigate the current needs of the fashion industry linked to sustainability, entrepre- neurship and heritage, develop and pilot three in- Confirmed speakers in the roundtable: novative courses addressing current educational and labour-market needs, and foster a functioning Susanne Vegter – Founder of STUDIO- network of complementary academic partners and VEGTER Fashion & Design Recruitment Agency other fashion stakeholders.The project was led by Sonnet Stanfill – Senior Curator of Fashion at Erasmus University Rotterdam and carried out in the Victoria&Albert Museum, London collaboration with Université Paris-Dauphine - PSL Marco Rendina – Managing Director European (FR), Gdańsk University of Technology (PL). Sev- Fashion Heritage Association eral fashion industry partners were involved over Roger Gerards – Managing Director Mees- the past few years: such as the European Fashion teropleiding Coupeur, Amsterdam Heritage Association, Studio Vegter, Victoria and Patricia Lerat – Founder PLC Consulting Paris Albert Museum, BOHOBOCO, marketing agency You’ll and Le Coq Sportif.

During the event, the Re-frame Fashion team will discuss the results of the project; students will share their work and experience; a roundtable with external stakeholders will reflect on the project re- More detailed information on the project, the sults and innovation in fashion education. programme and the speakers can be found on our website: [https] https://www.eur.nl/en/eshcc/re- search/re-frame-fashion

1 2

36 37 RE-FRAME FASHION Report Innovation in Fashion Education

Appendix D - Contributors

Dr. Mariangela Lavanga Mariangela Lavanga is a Senior Assistant Professor in Cultural Economics at the Erasmus University Rotterdam. She is the Academic Coordinator of the Master in Cultural Economics and Entrepreneurship, Co-founder and coordinator of the Minor Fashion Industry, and Co-lead, project manager, researcher and lecturer in the Erasmus+ project RE-FRAME FASHION. Mariangela combines insights from cultural economics and economic geography; from addressing the role of cultural industries in sustainable urban development to zooming in on fashion and design industries. Before joining photo credit, Cornelie Tollens the Erasmus University Rotterdam, Mariangela worked at University of Amsterdam (UvA), IULM University in Milan, European Institute Prof. dr. Ben Wubs for Comparative Urban Research (EURICUR) Ben Wubs is Professor of International Business in Rotterdam, and Cattolica University in History at the ESHCC, Erasmus University Brescia. Mariangela has an extensive teaching Rotterdam, an Appointed Project Professor and supervision portfolio. In parallel, she is a at the Graduate School of Economics, Kyoto sought-after speaker and expert in many events University, and a Programme Director of outside academia. Recently, she co-founded the Erasmus Mundus International Master’s Culture.Fashion, an open, value-driven network programme GLOCAL. He is engaged in various in the field of fashion and textile supported by research projects related to international the Dutch Ministry of Education, Culture and business, offshore financial centres, business Science (OCW). systems, transnational economic regions, and the transnational fashion industry. E-mail: [email protected] Linkedin: https://www.linkedin.com/in/ E-mail: [email protected] mlavanga/

38 39 RE-FRAME FASHION Report Innovation in Fashion Education

Prof. dr. Denis Darpy Denis Darpy is Professor of Management and Marketing at Université Paris-Dauphine-PSL (Paris Sciences et Lettres). He is now President of Université Française d’Egypte. He developed his academic career over the last 20 years, after 10 years in professional international marketing job positions in the microcomputer industry (Microsoft, Lotus Development, Tektronix). His research interests are Consumer Behavior, Brand Management, and Luxury Management. He developed connections with emerging Chinese luxury and fashion brands over the past Dr. Colette Depeyre 10 years. He has founded the Master in Luxury Colette Depeyre is Assistant Professor Management at Université Paris-Dauphine, in at Université Paris Dauphine - PSL (Paris partnership with leading luxury brands. He has Sciences et Lettres). Her research at Dauphine been also responsible for several programs Recherches en Management (UMR CNRS 7088) of the university in partnership with Chinese is focused on the adaptation of the capabilities universities. In addition, he has founded in of organizations and associated market 2018 the first International Management dynamics, in the context of complex product Master multi-campus (Europe-Asia-Africa). systems as well as in the textile, fashion and He has been Dean of the Graduate School in luxury industries. Current projects deal with Organization Sciences of Dauphine PSL from the strategic transformation of contested 2016 through 2020. He is also member of the markets and with the knowledge dynamics of steering committee of Enamoma – Paris Fashion intellectual and creative activities. She is in School by PSL. charge of the Master in Fashion & Materials at Enamoma – Paris Fashion School by PSL.

Email: [email protected] Email: [email protected]

40 41 RE-FRAME FASHION Report Innovation in Fashion Education

Prof. dr. Luciano Segreto Luciano Segreto is Full Professor of Economic History at Department of Economics and Management of the University of Florence. He is also a Permanent Visiting Professor at Gdansk Dr. Magdalena Popowska University of Technology since 2015, and Researcher and lecturer of Organization Adjunct Professor of Corporate Governance at Science and Entrepreneurship at the Faculty the Bocconi University in Milan since 2011. of Management and Economics of Gdansk His main interests are the history of family University of Technology. For many years capitalism, international affairs, banking in charge of internationalization processes, history and corporate governance in a historical between 2008-2016 as a Vice-Dean for perspective. He is involved in international International and Public Affairs, and today as research programs that deal with the trade of a Dean’s Proxy for International Cooperation. commodities in the nineteenth and twentieth Visiting scholar at many European universities: centuries. He is a member of the editorial Neoma Business School, University of Florence, board of “Revista de Historia Industrial y Niederrhein University of Applied Sciences, Empresarial”, “Passato e Presente”, “Studi La Rochelle Business School. Today, her Storici”, “Revista de Historia Industrial e research is mainly focused on corporate social impresarial”, and “Polish Science Review”. responsibility, sustainable development, and He is a peer rewiever of “Business History”, entrepreneurship education. Participating in “Business History Review”, “Economic History” several EU projects (TEMPUS, INTERREG, and numerous Italian contemporary history Erasmus+) and leader of a LLP - Erasmus journals. Mobility Intensive Programme (summer school).

Email: [email protected] E-mail: [email protected]

42 43