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Almond, K orcid.org/0000-0002-0311-106X and Power, J (2018) Breaking the Rules in
Pattern Cutting: An Interdisciplinary Approach to Promote Creativity in Pedagogy. Art,
Design and Communication in Higher Education, 17 (1). pp. 33-50. ISSN 1474-273X

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BREAKING THE RULES IN PATTERN CUTTING: AN INTERDISCIPLINARY
APPROACH TO PROMOTE CREATIVITY IN PEDAGOGY

ABSTRACT
The aim of the research is to explore how the discipline of pattern cutting can be taught, investigated and
practiced through innovative, interdisciplinary approaches. Interdisciplinarity involves the combining of two
or more academic disciplines into one activity (for instance in this enquiry, pattern cutting is merged with
disciplines such as health and engineering). The study discusses how interdiscipinarity can break rules,
which involve going against a set of regulations that direct a practice or method within an area of activity.
This mutinous concept can make pattern cutting appear more exciting and creative to the student and often
leads to them exploring different concepts and approaches. The research was based on secondary sources
gathered from a review of papers presented at, The Second International Conference for Creative Pattern
Cutting, held at University of Huddersfield, 24 and 25 February 2016. This conference was purposively
selected due to its discipline relevance and international representation and was unique to the authors
because they organised and chaired the event. To date, this has been the sole global platform to disseminate
research in pattern cutting and the approach is described as a methodology of conference organisation, using
content analysis as well as interviews with the individual authors of selected papers. It focuses on works that
considered new ways to pattern cut by effectively implementing interdisciplinary activity into its practice.
The findings discuss how the disorderly methods impacted on the student’s experiences. Ultimately this
supports the development of original, novel and innovative, pedagogical approaches to pattern cutting
practice and has the potential to enrich the fashion industry, encouraging pattern cutters to develop essential
skills to cross discipline boundaries.

KEYWORDS pattern cutting; interdisciplinary; rules; skills; disrupt; pedagogy

INTRODUCTION
In higher education, the practice of pattern cutting is taught in a variety of ways. This ranges from
introducing traditional methods of flat pattern cutting and tailoring, draping materials on the dress stand, to
using complex 2D and 3D pattern development software. Pattern cutting combines knowledge of body
measurements and body proportions to create a 3D form, which fits the human shape. It amalgamates
empirical knowledge with theoretical approaches that utilize a combination of technical and creative skills.
Research has shown that many clothing and fashion students find pattern cutting challenging because it is
often presented as a methodical and mathematically complex discipline, divorced from creativity. Arguably
it would have more appeal if presented as a creative craft, underpinned by technical skills that use a set of
basic rules and procedures (Almond 2010; Bailey, Drew and Shreeve 2004; Sayer & Studd 2006). Once an
understanding of the basic rules has been acquired, their manipulation using a variety of techniques should
be encouraged. This enables fashion students to find methods that promote creativity and disrupt

1
conventional approaches.

Globalization has changed the face of the clothing, fashion and textile industries in many developed and
developing nations. In pattern cutting the advancement of digital software has increased at a tremendous
pace. In the last two decades, there have been significant advances in computational power and hardware
performance which has enabled the progression of 3D CAD systems specifically aimed at the clothing
industry (Fang 2003; Sul and Kang 2006). However, it has been argued that digital software has not
improved the effectiveness and innovation in pattern cutting and this should be considered in the context of
pedagogy (Carr, McDaniel and Mehta 2016; Huang 2016). The clothing and fashion sector therefore needs
to explore different mechanisms for engaging students by exposing them to different pattern cutting
techniques and using new forms of pedagogies. These would encourage pioneering new ways to pattern cut
and develop creative confidence and risk taking.

This paper considers how the discipline of pattern cutting can be taught, explored and practiced through
innovative, interdisciplinary approaches. The research is based on evidence synthesized from a sample of
secondary research, gathered from a review of papers that explored interdisiplinarity, presented at, The
Second International Conference for Creative Pattern Cutting, held at University of Huddersfield, 24 and 25
February 2016. The investigation considers how the enhancement of student’s creativity can be instigated
in pattern cutting through interdisciplinary working that challenges established rules. It provides a discussion
on new forms of pattern cutting that blur the boundaries between different disciplines, mediums and
techniques, introducing reflective practice to underpin learning by doing and encouraging the exploration of
novel techniques and their benefits to learning.

THE DEVELOPMENT OF PATTERN CUTTING

The role of the pattern cutter is integral within the fashion industry. These skilled practitioners are
responsible for interpreting 2D ideas into 3D garments. Historically pattern cutting evolved through the work
of seamstresses and tailors who created clothes by hand. Their skills were passed on manually or by word
of mouth. It wasn’t until school attendance became obligatory in the mid-eighteenth century that people
began to read and write. This resulted in the first manuals published that documented pattern cutting
techniques and began to record the basic rules, many of which are still followed today (Giles 1887; Hearn
1821). These rules have evolved into contemporary pattern cutting manuals that document technical
instruction and are used by clothing and fashion students to learn basic techniques (Aldrich 2008; Joseph-
Armstrong 2013). Within the clothing/fashion industry there are predominantly three methods of pattern
making: traditional flat pattern making, modelling on the stand/creative pattern cutting and 2D and 3D, CAD
pattern design/development.
 Flat pattern cutting - usually involves the manoeuvre of a basic block shape created to fit a standard
body size such as a bodice block or a skirt block (Figure 1). The cutter manipulates the block shape

2
 through a variety of established techniques to create a pattern for a design. This is made up in a
cheap fabric, known as a toile and fitted to a body. The final alterations are then made to the flat
pattern before the finished garment is constructed.

Figure 1: Flat pattern cutting in the fashion studio. Photograph courtesy of Kevin Almond.

 Modelling on the stand/creative pattern cutting - is a more sculptural approach to pattern making.
It involves the cutter manipulating and sculpting fabric on a three-dimensional dress stand to achieve
a shape (Figure 2). It allows for greater experiment and a breaking of the established rules of flat
pattern cutting. The draped pieces are laid out on pattern paper and traced around to create a pattern.
This is tested by producing a toile, which is fitted on the model before the final pattern is created.
Many fashion designers have advocated this approach. For instance, the British designer, Betty
Jackson said, ‘What you don’t want is someone pedantic who says this is how a jacket is cut and
these are the rules and you can’t break these rules. What any designer needs is to work with a creative
pattern cutter who will break those rules’ (Inspirational Pattern Cutting 2000).

3
 Figure 2: Modelling on the stand in the fashion studio. Photograph courtesy of Kevin
Almond.

 2D and 3D CAD pattern design/development - has been significantly advanced in the last two
decades, which has enabled the progression of 3D CAD systems aimed at the fashion industry (Fang
2003; Sul and Kang 2006). The two major advantages of CAD within clothing and fashion design
are in the saving of time and the ability to view and quickly manipulate design ideas (Hardaker and
Fozzard 1998; Fang 2003; Power, Apeagyei, and Jefferson 2011; Jefferson, Power, and Rowe 2012).
Previously constructed designs can be revisited, modified and enhanced to produce new designs in
short time frames and these can be displayed on avatars in a variety of poses, with realistic drape
(Figure 3).

4
 Figure 3: Designs displayed on avatars. Illustration by permission of Lectra.

BREAKING THE RULES

Contemporary research into creative pattern cutting is a new and emerging research area and has significance
beyond clothing and fashion because it also promotes the value of tacit knowledge within a research context.
In 2013, the first dedicated creative pattern cutting conference was held in the UK, established by the authors
(Almond 2013; 2013a). This was followed by the Second International Conference for Creative Pattern
Cutting in February 2016 (Almond and Power 2016; 2016a). Further to this, two special editions have been
published in, The International Journal of Fashion Design, Technology and Education (Almond 2013;
2013a; Almond and Power 2016; 2016a). There have also been a series of creative pattern cutting workshops
held by the British Fashion Council, Colleges Council in London (2014). These workshops, held by leading
international pattern cutters (e.g. Julian Roberts and Shingo Sato, Figures 4 and 5), demonstrate different
pattern cutting techniques to fashion students, encouraging them to think creatively and develop new ways
to pattern cut.

5
 Figure 4: Pattern Cutting Workshop by Julien Roberts. Photograph courtesy of The British Fashion
Council.

Figure 5: Pattern workshop by Shingo Sato. Photograph courtesy of The British Fashion Council.

The overarching purpose of the 2013 and 2016 conferences was to provide a platform for pattern cutters,
fashion designers, researchers, students, and educators to explore the impact and direction for creative
pattern cutting. Research was presented from leading international experts describing new methods and
techniques. One of the emerging themes from the 2016 conference was the growth of interdisciplinary

6
working in pattern cutting that disrupted established technologies and broke traditional rules. In the findings
section, some of the interdisciplinary approaches from the research presentations and the ways in which they
have broken rules, are discussed and explored.

Research has shown that clothing and fashion necessitate innovative approaches to design, which require a
complex skill set only achieved by creative teams that combine design and technical specialists (Power 2014;
Power 2015). In the twenty first century clothes are no longer manufactured and retailed in specific local
regions. Clothing and fashion have joined textiles in becoming a global operation (Power, Apeagyei and
Jefferson 2011). However, garment design and realization remains a highly specialized domain which
demands skills across a variety of disciplines. This has created a divide between the construction of design
and apparel, which could be broken down using disruptive approaches that utilise interdisciplinary design
teams. The Design Council advocates that design can address complex social issues and offers
multidisciplinary as a solution, with design placed as the foundation of discipline integration (DC 2015).
The Royal Academy of Engineering (RAE 2012) acknowledged that individuals who can work together in
multidisciplinary teams are better equipped to deal with complex challenges (RAE 2012). As the fashion
industry becomes increasingly competitive and technologically advanced, it is important that fashion and
clothing graduates are equipped with the skills required to work and network beyond their immediate
discipline.

Clothing and fashion are increasingly crossing the boundaries into other disciplines such as health/well-
being and functional apparel, as consumers from all levels of the market, from the high street to couture,
want garments manufactured from the latest technical materials as well as clothing with duel functions. It is
therefore essential that graduates are prepared to take risks by combining or disrupting technology, using
techniques borrowed from other academic disciplines, thus breaking the rules of established methods for
pattern cutting. In the global fashion industry, it is acknowledged that pattern cutters who break these
traditional rules pioneer new ways to cut and this leads to innovative clothing and fashion (Almond 2010).
New technologies and interdisciplinary approaches have the potential to offer new, novel and innovative
solutions to the fashion and clothing industry.

METHODOLOGY
The academic, Gjoko Muratovski (2016), who has significant experience in cross-disciplinary design and
branding practice, identified that in design research, it is paramount that a balance is created between
academic inquiry and practical application to ensure a successful outcome. In relation to these ideas an
interpretive, constructionist philosophy was adopted in this research, as it endorsed data collection methods
that were primarily qualitative. An interpretive methodology is particularly suitable for studies using a
purposively selected sample of experts (Saunders 2016). The sample in this research consisted of papers,
which investigated interdisciplinary approaches to pattern cutting from the, Second International Conference

7
for Creative Pattern Cutting (2016). This allowed for a deeper understanding of impacting issues, through
the synthesizing of a cross-section of expert views based predominantly on an in-depth analysis of literature,
related to current practice and application within pattern cutting disciplines.

As well as the secondary sources gathered from the review of papers at the conference, research was also
based on a wider literature review, which is referred to throughout the text. The authors recognised the
potential limitations of focusing on the use of secondary sources. However as joint organisers and conference
chairs for the event, they had identified a pedagogical and industrial need for a forum that allowed
researchers to discuss and disseminate developments in pattern cutting, including interdisciplinarity. They
also acquired an in-depth awareness of the quality and diversity of the papers submitted for peer review.
This could be described as a methodology of conference organisation using content analysis, unique to the
authors. The conference was also selected to form the initial sampling frame for literature due to its discipline
relevance and international representation. Together with the first conference in 2013 (also organised and
chaired by one of the authors), they have, to date been the only global platforms dedicated specifically to
research into pattern cutting. Both events presented the works of over 80 individuals, from 20 countries, in
four themes: pedagogy, sustainability, fashion and new technology. The events were thus considered to
provide a rich source of data.

An extensive review of the 2016 conference papers was conducted to identify works that explored how
pattern cutting can be practiced through innovative, interdisciplinary approaches and focussed on the
pedagogy of creative pattern cutting. The criteria for selecting the papers fixated on works that considered
new approaches that crossed discipline boundaries and disrupted pre-conceived ideas. The use of disorderly
interdisciplinary forces, described in the selected papers, led to the development of new approaches for
teaching and learning. Primary research was conducted through email interviews with some of the authors
of the selected papers. The interviews were designed to be semi-structured and consisted of a set of open
questions, which allowed the authors to freely expand on their understanding of how the interdisciplinary
projects had impacted on their student’s experience of pattern cutting.

FINDINGS
This section discusses and interprets the finding from the selected papers presented in the creative pattern
cutting conference (2016), as well as the additional information gained from interviewing the authors. Four
main themes related to the interdisciplinary approaches to pattern cutting emerged, these were;
 Changing perspectives, through methods that combined the teaching of pattern cutting with teaching
methods from other disciplines.
 Combining traditional approaches with digital technologies
 Use of different media

8
  Pattern cutting and science

The first approach considered ways in which interdisciplinary teaching methods could be combined. Greg
Climer (Figure 5) from Parsons, The New School for Design in New York, discussed how the school
introduced a new curriculum in 2013, ‘Which has cross-disciplinary work, creative making and reflective
practice underpinned by research at the core’ (Almond, Power 2016: 17). The institution introduced a
restructured Bauhaus approach. Traditional Bauhaus design education involves one foundation year,
followed by three years in a selected discipline. Parsons has shifted to a four-year structure that updates the
Bauhaus model. The case study presented focused on how the changes in the curriculum impacted on student
experience, particularly how students approach pattern cutting and design as a symbiotic relationship that
creatively depend upon each other. When interviewed, Climer said that, ‘Our first year teaches many of the
same skills that are part of the Bauhaus model but always within a context. Projects always begin with a
design problem to solve through the lens of the skill being practiced. Technical skills are treated as integral
to conceptual thinking instead of tools which conceptual thinking can use’ (2017). Climer considered this
improved the student’s creative experience because all making skills were placed in a creative context and
there was no longer a first year of making block shapes with little or no creative thinking. Instead the
foundations of pattern cutting (such as, dart manipulation, adding and subtracting fullness) were taught
through combined creative design/pattern cutting projects, exhibiting elements of experimental learning.

The lecturer, Lee Harding, from Sheffield Hallam University UK, presented research about a series of
workshops that focused on garment distortion techniques with second year undergraduate students. ‘The
practical workshops encourage learners to forge a new perspective to three-dimensional thinking and
understanding, not traditionally found through conventional flat pattern cutting methods’ (Almond, Power
2016:17). The research reflected on practical sessions that attempted to build the confidence of the learner
by offering new methods to develop new approaches to 3D garment design. When interviewed, Harding
considered that the workshops broke down pre-established concepts surrounding pattern cutting and
challenged students to develop new ideas. Both methods offer a synergic slant to developing pattern cutting
by uniting different ways of teaching, firmly embedding the principle of learning by doing. He said, ‘The
over-arching feedback from learners was that the workshops contributed to overcoming boundaries and offer
a far more spontaneous engagement with 3D design. Some learners would have applied the workshop
techniques to their work to develop creative shapes, whilst others felt they were able to consider pattern
cutting differently and build their confidence’ (2017). In contrast lecturer, Brianna Plummer from,
Framlington State University USA, explored the potential benefits of introducing creative pattern cutting
earlier in the curriculum. She considered how interdisciplinary approaches to pattern cutting could
potentially present creative alternatives to traditional pattern cutting and questioned how much knowledge,
‘….is needed to provide the foundational skills required for successful creative pattern cutting’ (Almond,
Power 2016: 28).

9
 Figure 6: Garment produced during pattern cutting class from Parsons new curriculum.
Photograph courtesy of Greg Climer.

Although numerous researchers are investigating and developing 3D CAD systems from the 3D to 2D
concept, emerging companies are favouring the 2D to 3D. Early 3D CAD software systems, enabled the
designer to construct a garment in 3D form on a virtual model, then flattening the 3D images created to
produce 2D patterns. The second approach, 2D to 3D is more common within the garment industry because
it simulates the traditional process of design, pattern construction and garment realization. 2D patterns are
developed within a CAD software system, using the same rules and principles that apply to flat pattern
cutting. These individual pattern pieces are then virtually sewn together to construct a 3D garment which
can be displayed on a virtual model. The virtual image can be viewed from any zoom level and rotated 360°.
Researchers have acknowledged its lack of practical application and adoption within the clothing/fashion
industry (Power, Apeagyei, and Jefferson 2011). This is accredited to a variety of reasons including, setup
costs, user expertise, technology limitations and fabric simulation.

The second approach investigated the use of 2 D and 3D digital tools in the pattern cutting classroom through
an interdisciplinary method that considered exploring digital technology in more innovative ways. Lecturers,
Elizabeth Carr, Linda Ohrn-McDaniel and Archana Mehta from Kent State University, USA, considered if
using digital tools could change the student’s perspective. They created a demonstration, ‘Where the student
is placed in the position of the expert through digital recordings placing the camera perspective from that of

10
the instructor’ (Almond, Power 2016: 15). The idea was to allow the students to experience the
demonstration through the eyes of the expert to gain a more convincing viewpoint. The tutors considered
this approach to be successful because the student’s understanding improved through the new perspectives
learnt from demonstrating pattern cutting techniques themselves. When interviewed, Linda Ohrn McDaniel
commented, ‘One of the main successes we found is that with access to the videos, the student’s take
ownership of their learning in a different and more successful way than when the instructor appeared to be
the keeper of all information’ (2017).One of the conference keynote presentations from, Professor Shelley
Fox and lecturer, Juliana Sissons, suggested that, ‘The fashion design process is an interactive one, dealing
with the body as the primary site for investigation, where the designer and cutter work in collaboration to
develop the designer’s initial concept’ (Almond, Power 2016: 11). It was about building a relationship
between the designer and the cutter in which two different and often epistemological perspectives require
unification. This illustrates ways in which creative individuals with different skillsets can unite through a
creative design process, placing the body, different media, structure and form at its core.

The third theme, which explored the use of different media, described how clothing and fashion student’s
pedagogical understanding of pattern making could be enhanced by introducing alternative approaches to
the curriculum, utilizing different media. Lecturer, Laura Hardingham, from Robert Gordon University, UK
described her introduction of flattened boxes as a substitute for pattern pieces (Figure 6). ‘Working in pair’s
students were briefed how there was no right or wrong response, but rather to focus on creating interesting
3D form’ (Almond, Power 2016: 22). The students worked with a minimum of two boxes that were cut out
in calico. They were encouraged to stich edges together and manipulate the shape on a dress stand until they
felt a garment shape was beginning to manifest itself. This promoted greater creativity because it emphasised
how alternative approaches to teaching pattern cutting can complement traditional approaches such as flat
pattern cutting, which students often find particularly challenging.

11
 Figure 7: How Does a Box Become a Garment - Drawing silhouette analysis, interaction between
the body and boxes photograph. Photograph courtesy of Laura Hardingham.

The fourth approach looked at ways in which pattern cutting could be combined with science. The lecturer,
Rickard Lindqvist, from The Swedish School of Textiles, discussed experiments that involved cutting and
draping fabrics on live models guided by Langer’s lines (Figure 7). The anatomist, Karl Langer (1819-1887)
discovered that topological lines drawn onto the human body, that are parallel to the underlying muscle
fibres, are helpful to surgeons when deciding where and in what direction to place an incision in the skin,
before an operation. Incisions made parallel to Langer's lines may heal better and produce less scarring.
Rickard’s research explores and defines possible, ‘Congruence’s between the shear forces of human skin
and the anisotropic qualities of woven fabric’ (Almond, Power 2016: 25). This is suggested by discussing a
number garments that illustrate how the utilization of fabric grain may shift across the body. Langer’s lines
are a representation of the movements of the body and these lines and movements can inspire pattern cutting
through the placement of seams and darts. This can also inform teaching as students can be encouraged to
consider these lines when analysing flattering shape and proportion on the human body.

12
 Figure 8: Visual analysis of hard shell jacket. Langer’s lines are marked with thin red lines on
the torso and arm. Photograph courtesy of Daniel Grizel.

Lecturer, Holly McQuillan, from Massey University, New Zealand, discussed her multi-disciplinary
research, exploring User Modifiable Zero Waste Fashion. It explored the interplay between textile mark
making and garment form creation, through to, ‘The Development and testing of an embedded navigational
system by which users can formulate an understanding of the form and construction of a garment and its
opportunities for manipulation’ (Almond, Power 2016: 26). McQuillan discussed the facilitation of
understanding and risk taking in the context of collaborative textile and fashion design and questioned how
the encoding of navigational markers into a garment might aid its facility for creation and modification by
the user (Figure 8). When questioned about how this approach could impact on student experiences of pattern
cutting, McQillan advised that much was explained within the paper. The intent of the project, ‘Was to foster
an open-ended collaboration between designer, maker/user and textile that empowered the maker/user to
actively make design decisions, affording them creative agency’. (McQuillan; Archer-Martin; Bailey;
Derwin; Kane; Menzies; 2018), This is also something which can be explored in pedagogy as the
navigational markers can be used by the student to enhance the manipulation of pattern pieces and to inspire
greater creativity. In the interview McQuillan further explained that, ‘It certainly makes understanding the
fundamentals of this approach to zero waste cutting much easier. It facilitates an alternative understanding
of the relationship between body and cloth. The printed system on fabric or paper is like a tool, aiding in
student’s comprehension of how to manipulate form without wasting fabric. This allows them to progress
to a more advanced template system, until finally being able to manipulate the approach to suit end goals. I
look at it as a kind of scaffolding, it supports and builds until you don’t need it anymore.’ (2017).

13
 Figure 9: MakeUse: Encoded way finding system for the creation of garment form - Early
test using paper prototype. Photograph courtesy of Holly McQuillan.

Each of the four interdisciplinary themes related to pattern cutting promoted creativity in different ways and
in this context, it is challenging to identify which were more effective. Placing the selected papers loosely
into one of the four themes allows a more focussed analysis and evaluation of the merits of each piece of
research. This emphasises how interdisciplinarity can break some of the established rules in pattern cutting,
making the discipline appear more exciting to the students and leading them to explore different concepts
and approaches. The context of each theme differs in relation to cost effectiveness of delivery. For instance,
combining the teaching of pattern cutting with teaching methods from other disciplines such as digital
technology and science incur far greater financial investment as well as the contributions of highly skilled
people. Approaches such as the use of card board boxes or combining creative design/pattern cutting projects
with different teaching methods were simpler and incurred less cost. In relation to the scope and size
limitations of this paper, a more in-depth evaluation of these approaches could be a potential area for further
research.

14
ENHANCING THE PATTERN CUTTING CURRICULUM
The introduction emphasized how many clothing and fashion students find pattern cutting challenging and
suggested that new forms and mechanisms for teaching pattern cutting beyond the traditional methods of
flat pattern cutting, draping on the dress stand and using complex 2D and 3D-pattern development software,
need to be considered and developed. As discussed, one of the emerging themes from the 2016 conference
was the growth of interdisciplinary working that disrupts established technologies. This develops skills and
techniques within pattern cutting as well as skills associated with team working, critical analysis and
problem solving. The four interdisciplinary approaches discussed in the findings advocate different
approaches to pedagogy which could be considered either as individual ways to enhance current curriculum
or implemented collectively to pioneer new ways to pattern cut, using techniques and approaches from other
disciplines. These are discussed below.
 Reflective analysis – is a key element of the learning process which develops confidence and re-in
forces learning (learning by doing). In the case of Parsons, the move to experiential learning using
a Bauhaus approach enhanced the student experience and enabled students to better reflect upon
theory and practice within the confines of pattern cutting.
 Experimentation - is a key part of studio practice providing different opportunities linked to the
diverse needs of learners. The work of Holly McQuillan, supported experimentation through
interplay between the disciplines of textile marking and garment creation and suggested that
incorporating creative techniques earlier in the pattern cutting curriculum had many benefits
including the development of creative confidence. This is a controversial debate and it has been
questioned how much traditional pattern making knowledge ‘Is needed to provide the foundational
skills required for successful creative pattern cutting’ (Almond, Power 2016: 28).
 Effective and appropriate use of different technologies - enhances and supports the development
of new pedagogies for learning. For instance, digital feedback/recording of the critiquing sessions
has much benefit to knowledge building. In Carr, McDaniel and Mehta’s work they used a flipped
learning approach, placing students outside their comfort zones by making them the expert. By
cleverly designed demonstrations students were supported to become the instructor, aligning them
with developing the commercial skills required for employment.
 Knowledge transfer – demonstrates how effectively simple principles can be transferred to the
discipline of pattern cutting, such as those presented by Laura Hardingham, where flattened boxes
were used in a collaborative context to support learning. Methods such as these offer a synergetic
slant to developing pattern cutting through uniting different ways of teaching.

CONCLUSION
The research has demonstrated how pattern cutting is increasingly crossing boundaries into other disciplines

15
such as teaching methods from contrasting fields or science. By combining techniques from different
discipline boundaries, pre-conceived ideas are challenged and new epistemological perspectives are reached.
It is widely accepted that innovative and sustainable solutions for many complex problems reach far beyond
the boundaries of a single academic discipline or methodological approach (Stember 1991; Korhonen 2005;
McLeish and Strang 2014) and therefore new approaches for embedding this into the pattern cutting
curriculum are essential. Clothing and fashion necessitate innovative approaches to both design and pattern
cutting and require a complex skill set that can only be achieved by team working (Power, 2014; Power,
2015). This is a view supported by Fox and Sissons (2016), who wholeheartedly support collaboration and
innovation within pattern cutting. This is a final theme that can be drawn from the paper and explored further
in future research. Ultimately, it could be argued that interdisciplinary working does not break rules in a
traditional sense. As discussed it relates to the amalgamation of two ways of working within one pursuit
however the results of this one pursuit have the potential to break established notions of the activity itself.
This advances the pattern cutting curriculum by introducing students to a more enriched and wider
vocabulary of techniques and ideas.

The study is predominantly based on secondary sources gathered from the review of papers, presented at
The Second International Conference for Creative Pattern Cutting (2016). The authors of the papers were
also interviewed to further identify ways that interdisciplinarity impacted on the student’s experience of
creative pattern cutting. In relation to the scope and size limitations of the paper, a more in-depth evaluation
of the interdisciplinary approaches to pattern cutting could be another potential avenue for research. This
could take a more critical path by further exploring the student’s experiences alongside those of the lecturers.
It could also evaluate if simpler approaches such as the use of card board boxes or the more costly
approaches, such as the embedded navigational system, work better than others in terms of promoting
creativity. Additional research could also explore a wider use of different methodologies, such as action
based research in the pattern cutting studio or object based research studying the creative merits of fashion
garments produced as results of the interdisciplinary approaches. This could also extend research into
creative pattern cutting from a pedagogical context as well as exploring the development of creative, three
dimensional ideas further within the fashion industry itself.

REFERENCES
Aldrich, Winifred (2008), Metric Pattern Cutting for Womenswear, 5th ed. Oxford: Blackwell.
Almond, Kevin (2010), 'Insufficient Allure: The Luxury and Cost of Creative Pattern Cutting', The
International Journal of Fashion Design, Technology and Education, 3: 1, pp. 15-24.
Almond, Kevin (2013), ‘Raiding the Past, Designing for the Future’, Journal of Conference Proceedings
Futurescan 2 Collective Voices, 2, pp, 112-123.

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Almond, Kevin (2013). The First International Symposium for Creative Pattern Cutting. University of
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Almond, Kevin (ed.) (2013a), 'Guest Editorial, Creative Cut', special issue, The International Journal of
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Almond, Kevin and Power, Jess (eds) (2016). 'Guest Editorial Creative Cut’, special issue, The
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in the fashion design project: Variation in students’ experience of the research process’, Art, Design and
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