Fashion education in India has been a mega business since 1987, when institutes mushroomed in many Indian cities and towns. Thousands of one-room institutes encouraged students to opt for fashion, which turned into a multi-crore industry providing employment to lakhs of people. But the acute shortage of trained faculty and good infrastructure forced many to close down during the pandemic, since they could not keep up with technology as well as offer world class education. Some of the top institutes moved speedily into online education with global connections and trained faculty and are ready for the future.
We have learned to live with the new normal. When the institute started online classes from April 1, 2020, it was difficult both for faculty and students but with timely intervention by seniors everyone was able to adjust. The faculty members were trained online for multiple online teaching platforms like Microsoft Team, Google Classroom and others. We developed a small dress form and taught the students to make tabletop dress forms of half size with available materials at home. The fee was reduced marginally, but NIFT didn’t lay off or reduce any staff. Rather regular promotion and incentives were given to employees.
Online attendance was very easily captured, as students were asked to keep their cameras on. Each part of the country has some bandwidth available and recorded lectures were shared with students if required. There has been no impact on registration of students in 2020-2021.
Some of our campuses did online graduation shows but physical exhibition/shows were not held, while all students did internships in a hybrid mode. Industry is going through a difficult phase and till the time the situation stabilises it will be a challenge for both graduates and industry.
Some part of the industry especially the companies with ecommerce platforms are already seeing substantial growth. Over 69 per cent of the students have already been placed. NIFT will be starting placement from July 5 for the rest of the students of 2020 and the batch of 2021.
We have figured out a way of creating assignments and taking online exams. The pandemic was a fabulous opportunity to get experts from all over the world to give their inputs to students as practically everyone was working from home globally. This gave them added exposure.
The institute organised online counselling on a regular basis for all students. The counsellor and the faculty members were regularly in touch with students during this difficult time. Regular meditation and yoga programmes have been added for the studentsand officials of NIFT.
Five years ago, Pearl Academy envisioned the role that technology plays in educating students and invested in the right technology, training of faculty members and digital curriculum. This helped the institute in seamlessly transitioning to 100 per cent online teaching mode in less than two weeks. Since ethe lockdown, 3,300 students have undertaken 1,300 weekly online classes in design, fashion, contemporary media and creative business.
The few tools adopted by Pearl Academy: Implemented the world’s most advanced learning management system (LMS) and all faculty trained in teaching through this LMS. Before covid-19, 20 per cent of the overall curriculum was digital and taught online, which has now been scaled to 100 per cent with free access to Coursera and Business of Fashion course modules. The Pearl Academy mobile app is a one-tap window for incoming students to gain great insight, covering course content as well as the chance to speak to faculty, career advisors and current students. In order to ensure that this year’s academic cycle did not suffer delays, it was decided to conduct the complete admission process online.
Despite 2020 and now 2021 proving to be a difficult year for the education sector, Pearl Academy has been a catalyst for success for its students through its unique pedagogy, constructive tie-ups with industry bodies and international universities that is reflected in our placement record of over 99 per cent year-on-year.
The faculty development programmes and Coursera course on ‘virtual teaching specialism’ supported professional development of the faculty on effective online pedagogy, making online teaching creative, innovative and interactive using Black Board Collaborate and Zoom Cloud.
The biggest takeaway is that our students were able to apply their cognitive skills effectively and explored technology to achieve a better learning. Students across India attended master classes from the industry, design academicians and got national and international faculty support.
Pearl Academy has developed an immersive, creative learning framework that consists of pre-semester learning experience, an eight-week, tailor made programme for the new batch that hinges on content and delivery platforms, which the Gen Z enjoys. Modules were conducted on Instagram and digital avatars of eminent thought provoking figures of the past like Frida Kahlo, Albert Einstein, Marilyn Monroe and Cleopatra.
With the shutdown of campuses along with facilities like studios and labs, the fresher's would have been at a loss. Pearl Academy came up with the idea of home studio kits and sent close to 2,300 kits and sewing machines to students that are developed in consultation with the academic team and vary as per the programmed and curriculum requirements comprising theory tool, studio and project.
Blended learning was part of our curriculum long before the pandemic situation. This helped us to move our TLA (teaching learning and assessment) fully online.
Faculties were continuously trained through various mandatory courses like online hybrid and blended education, teaching and learning hybrid education, virtual teacher’s specialisation by University of California, Irvine. A total of 300 faculty successfully completed the course. KADAM, an initiative in partnership with Coursera and 300 faculty completed around 2,000 courses.
The theory modules were well taught online, where our students explored their secondary learning material and data collection methods, using learning resources and social platforms in a creative and problem-solving fashion. In case of computer applied design, it was taught using sharing of screens.
For studio/lab work like draping, pattern making and garment construction techniques were taught online using top down camera that could capture step by step of each procedure and recorded for asynchronous learning. An extended semester was incorporated for providing parallel studio time and facilitating support for student learning, doubt clearing and one-on-one sessions.
COVID scholarships were announced for financial support, flexible and deferred fee payment options would be provided to the students on a case-to case basis and there has been no impact on the registration response. All nonteaching staff has been retained and supported.
Student attendance was captured on the LMS and shared on a weekly basis. Considering the students’ own account of impact during the pandemic, we kept our attendance rules relaxed.
The accessibility of technical infrastructure was a problem with the students in a few areas. Our faculty emailed recorded sessions of the classes and mentored them over email. The use of smartphones allowed students to access the study materials anytime from anywhere, which provided a flexible platform.
In 2020 and 2021, Pearl Academy students got exclusive opportunities to participate in physical fashion weeks by the Fashion Design Council of India (FDCI) and presented their collaborated work on themes such as ‘Fashion Reboot’ and ‘Gender Fluid’, that were viewed by thousands. Our final year design students’ works was showcased in Arts Thread. Three students’ work were selected for the Global Design Graduate show in collaboration with Gucci in August 2020 and one for Asian Designer week for New Norman contests. Many students are now working for the industry in a work from- home format. We also got industry live projects from practicing designers and alumni to engageour students.
The future of students graduating during the pandemic should not get affected. It’s advised that they utilise this time to up-skill themselves and become future-proof by gaining more and more skills so their probability of getting good opportunities increases once economic conditions stabilise. Hiring right now is a bit slow because of the pandemic but we have full confidence there will be a bounce back affect soon.
Luckily, we managed to place 96 per cent of our students in the same companies where they interned. In a few cases where placements got affected due to economic instability, we extended our support through our five-year placement support to our alumni.
Currently, campus placements are low due to lockdowns, although interviews are happening online, which is a positive sign in the industry. This time is utilised to equip our students on future skills, which will help them get the edge in job opportunities.
At Pearl Academy we do not follow a traditional examination method. A continuous assessment method is in use, where our students’ work is assessed at certain points mentioned in their module descriptor. All submissions are digitised and uploaded in our institutional cloud (One Drive), which is accessible to the faculty to evaluate. Also, all jurypresentations happen online.
The fashion industry has evolved towards a circular economy and an advanced digitised manufacturing or an Industry 4:0. The Gen Z students learning online are more adaptable to the new needs of the industry, with knowledge of digital technology in fashion design and promotional strategies.
Pearl Academy last year started and intensified its ‘We Care’ initiatives for the physical, mental, emotional, and financial well-being of its students. A 24x7 counselling helpline has been made available to them to address and alleviate issues related to stress or anxiety. An online live concert called “Life in Times of Lockdown” sharing funny, interesting and memorable moments of the lockdown and “Life is Beautiful” keeping the physical, mental and emotional fitness intact were organised. For these initiatives, Pearl Academy was awarded QS I Gauge award E-LEAD certified with a perfect score of 150/150.
Trainers faced immense challenges as most were no tech-savvy, did not have the space to conduct online classes without interruption. They are used to personal interactions with students in classrooms and were unprepared for virtual learning. Internet failure and students logging in erratically, besides nonavailability of demonstration material, are challenges. Creative fashion design and art are more practical-oriented subjects. The lectures/briefs given did not work with students for the lack of practical guidance and non-availability of stationery and art materials, sewing accessories, fabrics, etc. Students’ interest and participation faded out and online classes became mentoring and professional based.
Fashion educationists have to restructure their curriculum and focus on theory subjects—basic projects, creative arts and techniques and research projects, which are based on self-study, analysis and application (initial stages). When normalcy returns, the focus should be only on practical training and application. The scenario for freshers is bright, as the industry has gone through a major economic upheaval. Designers and manufacturers are more focused on hiring freshers/interns on a stipend and people are willing to work for low salaries. The markets are slack and will take time to recover, but industry can pullthrough with interns.
Before the pandemic, there was a lack of upgradation of the curriculum/ data and teachers through training programmes, participation in webinars/ seminars and industry interaction. Industry experience should be the criteria for the selection of trainers. Managements need to support and promote teachers’ training programmes. Institutes can offer online fashion education in certain subjects, but have to be supported by industry interaction and practical’s. With digital couture, digital clothing, and crypto fashion weeks being the new buzz, educationists have to remember that learning is a constant process with a willingness to adapt and innovate by both trainers and trainees.
After several meetings and reviews of online education, internet connectivity and SOFT’s in-house education management system along with videos and online sessions, a system was devised. Videos were prepared for all subjects and made available to students. The MCQs were designed for videos and students were required to finish within eight hours.
These videos also helped students suffering from covid-19 as they could continue their studies. Initially, it was difficult due to many faculties lacking the required equipment. At times, connecting with Zoom or Google Meet was not effective; so, educational videos were preferred. The faculty was also trained for voice modulation, body language and content management, as technology became an integral part of education. Our homes became our classrooms, with access to global webinars, workshops and conferences. Communication is simpler with clear presentations and feedback. Students refer to digital library for many books.
The institute created videos, contact sessions, individual interaction with students, practical demonstrations along with assignment submission on Edu cloud. There were online seminars, webinars with Pantone, CSR and Sustainability in Fashion by Manchester Metropolitan University and online workshops on upcycling by Arts University Bournemouth Creative Thinking with industry experts. The faculty was trained for the virtual class system, which was implemented through Edu cloud, besides being trained in blended learning system with training of the Google Suite and its applications related to Google Meet, conduct classes, develop MCQs for evaluation process.
The Blooms Taxonomy Training Session helped develop the study material and also analyse the students’ performance along with hardware and software. The orientation of Bloomsbury was given along with reference Z Library.
For practical subjects like illustration, pattern making, draping, traditional embroidery, dyeing and printing, videos were developed with demonstration of the modules. After the videos were shared, the students worked on the assignments and two/ three contact sessions were provided where the faculty interacted with students in batches or individually to solve the queries. The submission of the assignments was on the Edu cloud software where the faculties have given individual comments to the students.
As per the directives of the university, there was no hike in fees. Instalments and additional scholarships were provided to needy students and there was no reduction of staff strength.
Classes were for four hours daily and divided into smaller batches for individual interaction. Attendance is through the ERP system of Edu cloud visible to students and parents.
between sessions small tasks keep the students engaged. Once a video is shown, an MCQ given has to be filled by the end of day and only then attendance is marked. All measures ensure that students attend the classes regularly.
There were a few practical subjects that required specific infrastructure for the conducting of the modules, like the sewing machines, draping dummies, weaving looms, flat knit machines, manufacturing machines for jewellery, etc. Those subjects were swapped with the subject of the next semester with due approval from the SNDT Women’s University.
All the university exams were conducted in online mode. For the practical subjects, which were conducted in the present semester, the students were given project-based examination, where the students presented their projects individually on the exam day to the external examiner.
Viva was conducted based on the semester work and the final project presented by the students. Certain constrains in online education were found, but the self learning and exploration capacity of students has improved to a great extent along with elevated self-confidence. The students’ emotional problems were handled with individual interaction.
Various activities and seminars online were arranged by motivational experts on yoga, immunity, meditation and stress management. Technology became an integral part of education and recorded sessions became a benchmark. Various webinars were organised with the institutional partners and many tie-ups were developed with professional organisations. The skill assessment module was given more emphasis, to develop individual contact with students and develop skills.
The theme of the graduation show was ‘Collaboration and Concretions’ when students personally collaborated with industry and artisans and 50 garments for ten collections were developed before the lockdown, which will be showcased online soon. The collections were created with engineered weaving, innovative embroidery, and block prints in Kutch, Barer, Jaipur and Ahmedabad.
Last year’s graduates have progressed to advance learning in national and international universities. Few have their own star tups. The graduating students have fresh vision, sound academic knowledge, are tech savvy to take on global work for start ups and digital platforms. Placements at SOFT have been favourable; almost 65 per cent of B Design students have been placed successfully both within the industry and as self-employment. Also, the institute gets new and upcoming job opportunities that are relayed to studentsthrough WhatsApp group and college social media platforms.
The moment the pandemic struck we switched to online classes and coordinated with the team to set up a seamless system, which could bring them the best education at home. It was equally easy as well as difficult.
Easy since we immediately shifted to online technique, which made teaching a possibility, and difficult because teachers and students had to adjust to the new normal, which was a challenge.
Students’ takeaway was self-study as they realised the importance of independence and it was a big eye-opener for everyone. Teachers’ takeaway was keeping a positive approach, patience and high energy, thus bridging the gap between the students and institution.
We have grown technologically by incorporating new applications to create designs, impart knowledge online, send messages through emails, conduct online presentations, send online audio-visual information through different computer applications. Our methods were simple as all faculties had good connectivity in the form of internedconnection, mobile instruments and laptops.
We had provided them machinery and dress forms required for the classes. Initially, we rolled out theoretical subjects and later owing to the prolonged pandemic, we successfully carried out practical subjects like pattern making, embroidery, illustration, drafting, etc. We are now available for our students 24/7. To help parents during this difficult period, we reduced the fees by 30–35 per cent and also provided instalments to students, including scholarships to deserving students, but unfortunately we had to cut down on staff.
We have subject-wise attendance registers, but during pandemic we created What App groups to record daily attendance; thus, students’ bunking reduced gradually. Most students had android mobiles, which made their life easier in terms of downloading various learning apps. Only a few faced internet connectivity issues, which was unavoidable, but we sent them recordings of the classes.
In terms of new admissions, the response was not good as prospective students thought that learning subjects like fashion and interior designing was not possible online due to its practical nature. We had to manage the year only with past admissions.
We conducted online styling competitions, wherein students came up with their own themes and created style, story and theme boards. They did not have to go out to source materials but did it from their own wardrobe. They followed the themes and modelled themselves to showcase their designs.
Home and outdoor photoshoots were conducted by them individually to promote their styling projects. Prizes were declared for best styling work and promoted on our social media pages.
As the pandemic has continued, on the internship front many students had given interviews but were unable to join their respective jobs. Since movies and serials shoots are going on, students got an opportunity to work as designers and stylists. Some of them have turned bloggers and influencers and are selling their products online. Few have taken up graphic designing jobs and some have started own businesses.
Some students were forced to give up fashion related work and join other fields to earn a living. Few students who were selected by ace designers and companies were not able to start work. Also. Few companies, who hired interns from our institute, cut down on staff; so, students couldn’t join them. Those who were able to think out of the box and show innovation and productivity will be able to survive this pandemic, hence the focus on ecommerce.
Theory exams are conducted through Google Forms, and for practical’s, papers from the university were forwarded to students. They answered in PDF format, which we sent to the university.
Students studying online will be at par with the students who have practically attended all classes, as the syllabus is not compromised for students – be it online or offline study; only the mode of study has changed but content is the same.
We faced lots of emotional tantrums from students—some faced family issues and some lost their jobs. We made it a point to be available for them and support them emotionally.
We also organised motivational counselling sessions and played online games to encourage them. We initially reimbursed the staff salary for a few months and graduallycut down on the non-teaching staff, which was a tough decision.
We also had to rework our rental agreements and came up with better and feasible options. We did not stop our students’ learning process even if they weren’t able to pay their balance fees.
Whistling Woods International, transitioned seamlessly to the virtual platform within a week of having to go online, when the lockdown was announced. We opted for blended learning methods, and this was possible due to the versatility of the curriculum, the team’s readiness to adapt to change, the support teams of the institution, and the readiness of the students.
We had to make a few improvements to the system in conducting classes, which was not easy, but the institute ensured every effort was taken so that learning was not affected.
The switch from classroom to virtual learning needed a different skill set for students and faculty. The initial days were challenging, as many students were relocating to their hometowns, while both faculty and students had to acquire stable and high-speed internet connections and find suitable spaces in the homes to conduct/attend classes. Students were provided with the recordings of the sessions they missed, and even refresher sessions were organised.
The biggest learning was adaptability. It brought to the fore the importance of having a strong supportive leadership. As an institute, several new SOPs were put in place to ensure that learning remained uninterrupted. Universal remote access was set up, allowing students to access all their data on the WWI servers as well as the high-end computing resources on campus from their homes.
We have used multiple platforms to host classes and introduced new software that has helped continued learning in the absence of materials that were once conventionally used.
Master classes, guest lectures and workshops with industry professionals continued online. All theory classes were conducted online, with practical’s, workshops and shoots being done on campus in smaller student groups. We ensured the lessons were engaging, interactive and effective, and our students were learning something new with every lesson.
A few sessions were held to acquaint the team with systems as well as extraction of reports that were essential for grading and documentation. Using technology was not a tough task, as it has already been in place both from the students’ and tutors’ point of view.
While aesthetics and basic learning was easy to teach online, tactile explorations have hindrances in such methods, but we have managed to proceed with these learnings, which has enhanced remote coordination skills.
While the fee structure did not undergo any major change, we ensured payment of fee was the least concern for the students and their parents. Unlike the pre-COVID scenario, we have not adhered to strict payment deadlines, enabling students or their parents to pay as and when feasible. Also, we have allowed part-payment, which was a support to the students.
The model by which WWI currently operates doesn’t require us to reduce staff strength. In fact, there were opportunities for tapping into added skillsets of the team to enhance the online learning experience. WWI is using its customised ERP system, WWI Automated Resource Planner (WARP) to manage all its academic and administrative day-to-day activities.
Through this platform, we were able to extract information in relation to attendance. Besides, it takes a lot of motivation and empathy towards certain situations that cause a hindrance in attendance, etc, but one does get creative in these situations.
Most of our students have the technical resources required for a seamless online session. But in certain cases, high-end computers, tablets, etc were couriered to the homes of students who needed them. The institute has supported students and provided with the necessary hardware/software required for certain sessions and projects.
The targets we usually have for admission were re-adjusted, but the number that we received is quite satisfactory given the times. We did not completely eliminate graduation collections and conducted digital showcases of the portfolio. Moreover, as some students opt to make fashion films, those were also executed.
All programmes at WWI have internships associated with them. WWI also has a special department assigned for placements and internships, and they have worked consistently to help students in choosing the right career option, even during the pandemic.
There were a few students who in their own proactive capacities have secured jobs and internships during the year and successfully completed them, while some are still pursuing with their on the- job training.
The advantage our students have is that they can branch off into multiple fields, costume design being one of them. Many are working as costume designers, some have joined family businesses, while some are preparing for further studies.
The present scenario has impacted placements. Student placements are slow, but have not stopped completely. The students are utilising this time to enhance their skillsets and knowledge, to ensure they are industry-ready once they start their journey as a professional.
It is now the time that CAD takes precedence. We have taught digital design and have transitioned into this more with most subjects. Basics of the practical subjects have been taught and the rest will be completed in modules once we return to the campus.
We stay strong with our commitment to quality learning aides, whether face to- face or remotely, there will not be a fall back in skills.
We have a dedicated department of counselling professionals that students can reach out to, avail of any guidance, or even resort to for just a sympathetic ear to listen to their issues. Not just during the pandemic; this has been in place from before.
WWI has always treated all its members as family. The management has played a huge role in supporting and encouraging everyone associated with WWI, whether faculty or nonteaching staff.
The institute has strived to pay the salaries on time, to ensure the staff members are able to manage their monthly expenses. In case of dire situations, the management and HR team have extended support to every staff, be it financially, emotionally or mentally.
We went online overnight on March 16, 2020. We were about two months away from completion of the term. Revisions were made to the syllabi to make them doable through online modes of learning and these were reviewed on a weekly basis. In this phase-I of online, we found some courses fitted in very well, while others were undoable.
Due to the disruption caused by the sudden lockdown, all senior year thesis projects had to be completed digitally.
They were given a workshop in Daze 3D Studio and Photoshop that equipped them to produce their work digitally. Their toiles, however, were made on campus before the lockdown, which allowed them to create a comprehensive thesis book.
For Fall 2020, the strategy was academic continuity, timely and clear communication, setting up of home studios by students with dress forms, sewing machines and irons on dining table or floor for cutting fabrics.
Synchronous and asynchronous learning was created through PowerPoint presentations and demonstrated, like showing iteration in miniature forms or writing down the steps of toile development with sketches.
Google Classroom was used to communicate instructions. It could’ve been difficult, but the focus on academic continuity without compromising on quality and the health and safety of our students, teachers and staff became a mantra.
The biggest takeaway has been the confidence it has given to adapt to any circumstance and fight with resilience.
It also put a whole new focus on the learner and on how he/she can learn in the best possible way. It allowed us to look at education more critically, use multiple modes of teaching, draw from a diversity of resources and reinforce the three-dimensional role of the teacher, facilitator and mentor.
Delivering education through a liberal arts approach that emphasises enquiry based learning facilitated the discussions and presentations on crucial/key topics pertaining to a course. Critical thinking included in-class reviews of work done, enhancing digital skills, online interaction skills, collaborative skills and emphasising the importance of process rather than outcome.
Even before the pandemic, the staff was well versed with digital skills for in-class presentations and in the use of software for digital illustrations. Before closing campus in March 2020, we were given a one-day training on the use of Zoom.
Our programme structure includes both seminars and studio courses. The seminar courses are more discussion based, research-based or liberal arts courses, while our studio courses emphasise the development of technical skills in a creative and critical context. While the fundamentals are taught through guided instruction, the student is challenged through creative prompts to imagine and apply his/her level of knowledge to exploratory work.
The fees remained the same. However, students and parents/guardians were given flexible payment options. Our attendance rates went up when classes began online. In-class discussions allowed us to get the class involved and that ensured they were indeed attending.
Most classes were followed by instructions for independent working. The students, who did not attend, would struggle to complete the assigned work. It’s rare for students to play truant. If they have a valid reason, they are expected to send in an email explaining their absence. Although there was some initial hesitation, many realised with the overextending lockdowns, that on-campus teaching might still be a year or more away. There have been more registrations this year than the previous year.
Our programme is seven years old, and we’ve never had a graduating show per se, because we don’t view fashion education as something that must only churn out the iconic fashion designer.
churn out the iconic fashion designer. We see fashion as an industry that absorbs many different types of talents and competencies. We have thesis projects as a graduation requirement.
These projects are self-initiated and require a very comprehensive approach for their resolution, encompassing research, ideation, collaboration and ultimately, deliverables decided by the students in accordance with the framework provided for the thesis work.
The work is suitable for digital formats of exhibition and have been shared through our social media handles or sometimes even through submissions to different bodies/associations. Simran Merah, our alumna from the class of 2019, showcased her thesis project at Fashion Tech Week, New York in 2020.
Our comprehensive internship strategy conceptualises work experience for students in three levels—first-year level as an observer ship at a company for 15 days that may be self-procured or be procured with the help of our career services cell, at the second-year level as an apprenticeship lasting a month, and the third-year level as an internship for 200 hours or a month and a half. At the fourth or senior year level, students are assisted with placements. This allows for students to get a wide exposure, integrate their work experiences into project work and identify pathways for their thesis, which helps them be clear about the kind of roles they will be interested in.
During the pandemic, we continued with this policy and encouraged students to take up work-from-home internships. Also, in anticipation of the lack of internship opportunities that students would face in the summer of 2020, we designed our own professional enhancement programme called ProStart. First and second year students were put in teams and assigned academic and external industry mentors who guided them towards the development of design propositions from pre-framed project tracks that revolved around industry-related design problems that would emerge in a post covid world. Third-year students were given virtual internships, where they worked in teams and were mentored by an academic mentor and an industry mentor from the company providing the internship.
The companies that gave our third-year students virtual internships during the summer of 2020 were ASBO magazine UK, Fashion Revolution India, FKNS by Narendra Kumar Ahmed, Local, and Stimuli.
Our career services cell works closely with each programme director and the students within the programme to understand their skillsets and career aspirations. We have ‘Career Connect’ where companies are invited to share their profiles and the kind of talent they are looking for with students, who share their portfolios.
The landscape of business and more significantly, the fashion business demands that the industry starts thinking physically. Our students are well equipped with the skills required for this new world. We encourage students to think outside the box and in the process, acquire great critical, creative, collaborative, communication and idea pitching presentation skills.
Some have started their own entrepreneurial ventures, others are doing short-term projects or virtual internships, a few are working with companies with work-from-home arrangements. Some have joined their family businesses and others are preparing for masters programmes abroad through well-considered internship experiences.
We receive sporadic openings for students for short-term or project-based internships or work. Our students’ virtual internship experiences with an AI-based company, or communication based fashion campaigns with a UK-based magazine and with Fashion Revolution—all expanded students’ outlook towards the possibilities and opportunities in the fashion industry and freed boundaries.
We don’t have an examination system but a rigorous review system, with reviews of student work at three points during a 15-week semester. Students receive grades during these interim reviews. This allows students to receive timely feedback on their performance and for faculty to understand the course corrections that need to be made.
Apart from having our own counsellor whom students can reach out to, our faculty too is regularly sensitised to mental health problems that students are facing now.
We’ve always taken a learner centric approach and that has helped us to effectively enable our students navigate through these challenging times. Most of the non-teaching staff has been retained. We continue to pay our rentals.
Our decision to adopt a hybrid method of learning that incorporates online as well as socially-distanced physical classes revealed how design education can be conducted in new formats and expand the scope and potential of its practice.
We continuously encourage our students to not consider the pandemic as a ‘problem’ but an opportunity to explore the potential of design as an agent of social change, welfare or awareness by means of enquiring design practice outside the walls of a classroom or lab in their own homes— their bedrooms or even dining tables to understand design in various spheres.
As online ways of education were something that we had not been practicing before the pandemic, the transition had its own drawbacks as with any new practice.
However, we consider its initial stages as a trial and- error process that enabled us to learn so much about our own teaching methodologies, approach design education and implement new ways of dealing and adjusting to new problems. The main concern of the online education system was to make it interactive with the students who were sent videos pertaining to practical skills executed by the faculty, in their own learning environment.
Notes prepared by the faculty and recorded classes were also given student access. Theory classes were incorporated with certain workshops in order to make the class more interactive, friendly and engaging.
The institution uses Google platforms. The staff were given a workshop by Google on using the platform effectively.
One of the limitations imposed by hybrid education was the students’ lack of access to technical labs and we had to create and execute design ideas within the context of their living spaces. There were challenges related to availability of machinery and other facilities, but they were supported to navigate alternative ways of fashion and design, which helped develop a broader understanding.
The tuition fee did not change as the ideals and foundation of our educational policy and practice remained the same regardless of whether we adopted an online mode of teaching or not. The same support, facilities and resources were given to students. The only difference was that such educational interactions were happening digitally. The support provided to the students has increased along with an increased consciousness of their physical as well as mental wellbeing and capacity.
It was our aim to strengthen the solidarity with each of our community members, and not abandon anyone in this vulnerable time. We did not reduce the staff strength because all our members serve a purpose and a role in upholding the ideal and functioning of the institute.
As in physical classes, attendance was taken manually and students’ response recorded to evaluate their overall performance.
The attendance of the students was marked based on their presence, participation in classroom and workshops conducted. Students were expected to follow certain etiquette relating to attendance of classes, which they had been briefed about. They were supposed to switch on their videos at all times, and expected to engage and contribute to the class in case they are called upon by the faculty.
The adopting of work-from-home in 2020 has not affected the registration response of prospective students. The marketing team was able to guide the students with the admission process.
There has been an increase in the number of prospective students in 2021 compared to 2020.
The campus placements have been going on, which has enabled students receive internship and job opportunities. Also, through our outreach programme, we host professionals and expert workshops or interactive talks with the aim of updating the students with the current climate of the industry.
The pandemic has enabled us to evaluate our role, and especially with regard to design education it has given an opportunity to students to investigate new ways of design practice and significance of design as an agent of change and power.
Through our new modes of education, we have highlighted the importance of these skills. The graduating students have witnessed the transition to a hybrid education and gain a broader perspective on the possibilities of design creation.
Most students have proceeded with higher education. Many are currently doing their internship or jobs, which they have either gained through campus placements or their own individual talent.
Some have chosen the entrepreneurial route and started their own design firms or are undertaking freelance projects. Campus placements have been affected and reduced. However, it is better than what we have expected. Companies are hiring graduates and providing flexibility in working, such as work from-home or reporting for work once a week or month. Companies are seeking employees who can work in digital fields.
Design is more of a practical than a theory domain. However, the current situation has enabled us to explore new ways of conducting practical exams. We have been able to conduct them physically, with a reduced number of people and with strict adherence to covid-19 guidelines. Some of these exams have been postponed due to the intensity of the situation, but not cancelled.
The students who graduated online have had to experience the concept of adaptability as an important aspect of their education, and this is a quality that is being valued now, which students who graduated during ‘normal’ years might not be familiar with. This shows how the students who have gained an online education possess a flexibility in approach that is highly relevant now.
The institute has always valued the physical as well as mental and emotional well-being of its students. With the present condition affecting students, the institute has increased its emotional services to students.
They are open to contacting these emotional support services and ask for help from designated staff/faculty when they assistance. The institute has been able to manage problems of its non-teaching staff smoothly, and has not faced any concern with regard to rentals or any other issues as they have all been receiving their salary on time without compromise.
Being a design institute, it was imperative that we take the right steps for the practical approach even though we had to move to online platform. The faculty members were encouraged to innovate their teaching methods not only to disseminate the curriculum but also to keep it engaging for the students.
Since this situation was not unique to GSD but in every true sense a new normal, everything had to be made keeping the best interests of the students in mind. There were many new tools and techniques that were introduced and a quick shift in upgrading digital skills was implemented.
Digital technology has also enabled students to realise that they must use methods especially in sustainability and construct responsible businesses. Sharing knowledge and learning new skills plays an important role and prepares students as creative thinkers and problem solvers.
Since GSD is not only about classroom learning, we wanted to continue with this. There have been constant interactions with entrepreneurs, experts and consultants from design and other industries. The curriculum had to be broken down in smaller modules, but the content was never compromised with.
Digital skills and various innovative methods have been an integral part of the GSD curriculum. Faculty development sessions with partners like Adobe were scheduled for them to better equip themselves with the software upgrades. Introduction of more hands-on methods of learning, using different and locally available materials and resources were helpful in imparting practical lessons to the students. Students were encouraged to do independent research and thinking.
GSD initiated a Spotlight Scholarship Programme (GSD-SSP) at the onset of the lockdown in 2020 to support students and parents.
This was made available to the existing and the new students so they could avail up to 50 per cent benefit on the tuition fee.
The student service department has SOPs in place for timely attendance taking, while students at GSD are aware of the online etiquette, such as keeping cameras on. There is a dedicated system of attendance intimation for both students as well as their guardians, and this allows for any flagging if need be.
For the initial weeks there was an empathetic approach to any student who needed to adjust to this system. It is unlikely that today students face technical issues as most are now equipped with technical tools, internet connection and seek support from thededicated technical team at GSD.
GSD has continued to hold workshops for potential incoming students, while many have shown keen interest, things are currently dependent on the current pandemic situation.
Students participated in mentorship programmed with brands like Anita Dhongre, Mobeetie Carpets, Bharat Tiles & Flooring, Raghavendra Rathore, where they worked on design concepts, ideas, etc. These projects not only added to their overall learning, were a part of their portfolio along with the regular assignments, which they were graded on during an online interaction with a panel of faculty members and industry professionals.
Students received projects from various industry experts, which they worked on from home. They reported to mentors and faculty daily, and worked around a timeline/review system.
Students were given assignments based on both theory and practical aspects, which were constantly supervised by a faculty member and a panel of experts gauged the skillset of each student.
Universally it has been acknowledged that an online system cannot replace in-classroom, in-person and interactive environment. But with technology and adaptation in ways of disseminating the curriculum, there is no reason for virtual learning experience to be any less in terms of skill and acumen.
With reference to fashion and design, a few areas like material handling and finishing processes may have to be rerevised in a physical classroom set-up to enhance one’s skillset.
Well-being is an essential module from first year till graduation when students can reach out for any support. Additionally, GSD has encouraged an open relationship with faculties where students are encouraged to discuss, debate and share ideas, thoughts and concerns. While GSD is in discussions for some specialized programmed, our current focus is on Bachelor of Design students.
The first batch of GSD would graduate in the year 2022 and we hope that things return to normal by then.
This article was first published in the July 2021 edition ofthe print magazine.
Comments