To thrive in the fast-paced fashion industry, graduates must possess critical skill sets upon entering the workforce to ensure they are fully prepared for employment. This immediate need from the fashion industry necessitates that students gain practical, experience-based inputs from the fashion curricula pitched within the fashion higher education environment.

The design higher education system of today will not be applicable to the demands and requirements of tomorrow (Munir & Nudin 2021). Furthermore, Generation Alpha introduces a new challenge to our current education systems, demanding a new approach to education. Accordingly, Karen Gross, the author of Breakaway learners, believes that universities should begin adapting to cater to Generation Alpha, suggesting that thinking ahead is crucial in planning and contemplating the future's implications (Hall 2017).

Higher education institutions have an ever-increasing role to play in the creative economy of South Africa. The relationship between higher education institutions and the creative economy manifests through the skills, training, and knowledge transferred to students, thereby supporting this economy through job creation, addressing Sustainable Development Goal 8. The local fashion industry is a creative industry of which the custom-made fashion designer is essential. These designers offer locally made traditional and culturally specific custom-made garments to customers in South Africa that communicate the culturally significant heritage of their wearer.

Fashion design and its pedagogy is fundamentally centred around visual representation. A core conceptual component of the fashion industry and design education is mood boards, concept boards or trend boards, which purpose is to communicate design direction or intent and to provide a starting point for the design process. Content for these boards relies predominantly on visual data; due to the internet and social media, students and designers have unlimited access to visual stimulus. Reflecting on personal design constraints and teaching experiences in fashion design at a leading South African design education institution, it became clear that the influx of visual data, both through the use of these boards and freely available images on social media, affects original design thinking.

While considering new pathways in design, we envisioned the futuristic aesthetic of fashion in the South African context. Although fashion designers work with complex and multifaceted problems, the cornerstone of good design remains beautiful aesthetics; thus, when imagining the progression of South African design, we start with an investigation of aesthetics.

Fashion entrepreneurs contribute greatly to the local and South African economy. It is, therefore, vital to equip fashion entrepreneurs with necessary knowledge and skills, to ensure the success of their entrepreneurships. Fashion entrepreneurship demands occupation-specific skills. Without these skills, client satisfaction levels can decrease, influencing the success of the entrepreneurship.

This article aims to describe the need existing amongst peri-urban fashion entrepreneurs without formal fashion-related training, with regard to the possession and utilisation of fashion drawing skills. A quantitative approach by means of interviewer-administered questionnaires was employed to explore this need. Non-probability sampling was used to identify 114 respondents.

This paper identifies the desired design outcomes and problem domains of experienced Johannesburg fashion designers, to provide recommendations for fashion design practice and education. Traditional fashion design education often emphasises aesthetics and technical construction before strategically deciding on where the design effort needs to be focused within complex integrated systems. However, within the context of the fourth industrial revolution (4IR), complex integrated systemic thinking is becoming increasingly important. As such, this paper provides an overview of the design outcomes of practising fashion designers and explores the correlation between the problems they manage and Buchanan’s (1998) seminal proposition of problem framing and placement domains.

The importance of cultivating a creative mindset in fashion design students to eventually thrive in the rapidly changing work environment that demands novelty in design is becoming increasingly relevant from an educational perspective. In addition, the challenges to enhance creative design processes of students have been exacerbated by the COVID-19 pandemic in 2020, which caused a sudden transformation from traditional contact education, to online and later blended learning. This implies that educators are challenged to re-think traditional strategies of teaching creativity to align to the shifting conditions.

As fashion is becoming increasingly more inclusive of environmentally friendly fibres and sustainable textile solutions, consideration needs to be given to other applications of sustainable strategies within fashion design praxis (Gwilt & Rissanen, 2011, p. 57). Concepts such as design for sustainability, which centres on cutting waste, upcycling and fibre recycling strategies have become commonplace within the industry. A greater focus needs to be placed on developing new ways of clothing construction processes (Fletcher & Grose, 2012, p. 48).

This paper considers the importance of preserving ‘hand-skills’ in fashion design education for students to acquire the ability to visualise the shape, proportion and fit of a garment instead of relying solely on a computer. In addition, the apparel industry requirement for patternmakers to be familiar with digital patternmaking technology to speed up the efficiency of the patternmaking component of the manufacturing process is of equal importance. Both techniques are examined and compared in the research.

For decades, studio-based pedagogy, grounded in socially-engaged, constructivist learning spaces dominated design education (Crowther 2013; Shreeve, 2015). However, the global pandemic forced design education to align with the fourth industrial revolution (4IR) and move towards interactive digital technologies and online teaching and learning methodologies. Positioned in the space of 4IR, the move to digital technologies is required to digitally streamline and integrate human-centred opportunities for inclusivity guided by technological advancements (Chuo 2019, pp. 107).

Fashion design entrepreneurs (FDEs) are compelled to embrace digitalisation to create a competitive advantage and provide the Web 2.0 (participative and social web) smart customer with the service they require. The purpose of this research was to determine how social media facilitates custom-made apparel design decisions in the FDE context. This study sets out to apply the third-generation activity theory to show the role social media plays in the activity system's result between a customer and FDE during the design process. Qualitative data from three independent exploratory studies conducted in Gauteng, South Africa, were used.

The cyber revolution has emphasised the dialogue regarding perceptions of value between the mechanically produced and the handmade jewellery piece. The application of modern digital design technology with traditional methods of working by hand in the studio jewellers’ practice raises questions of authorship, authenticity, and artisanship.

In this paper, four educators teaching undergraduate jewellery design and manufacture recount our adaptations to online learning during the COVID19 lockdown, and how this impacted our ideas about lecture content and delivery. We look at the possibilities for online study in jewellery design in relation to the developments of the fourth industrial revolution, such as blended learning, simulations and computer-aided design and manufacture. We share adaptations that may serve educators in distance or blended learning scenarios. However, the lockdown created difficult learning circumstances in South Africa in which we often ‘lost connection’ due to high data costs and inequalities in students’ living conditions.

The COVID-19 pandemic has forced many changes to educators’ teaching approaches. The pandemic has also highlighted the role that technology and the fourth industrial revolution play in the future of tertiary education. Many educators have to adapt to these changes and adopt strategies to benefit the students’ prospective positions in various industries. Computer-aided design (CAD) has revolutionised the jewellery industry, mainly through decreasing production timelines, increasing the accuracy of the pieces, and creating production-ready designs. Initially, the industry was slow to integrate the technology, but it is now widely used in jewellery manufacturing.

The COVID-19 pandemic has been declared a global pandemic forcing many countries into a widespread lockdown. In South Africa, contact higher education institutions were forced to develop and introduce online learning and teaching platforms. Considering the fourth industrial revolution, patterns of digital access are unequal across South Africa whereby rural areas are likely to be most disadvantaged. Students who returned home during the national lockdown may not have been equipped for online learning due to a lack of resources.

Appropriate pedagogies for the development of an online (distance education) clothing and textile product development module presented at NQF level 8 is paramount. The curriculum and the pedagogical perspective of students enrolled at Unisa are affected by student diversity; locality of students; separation from the institution, lecturing staff and fellow students. Cognisance should be taken regarding the proliferation of the internet, changing student profile and adoption of various teaching methods, which all have an impact on the learning process and should form the theoretical underpinning of a design of a course/module (Ertmer & Newby 2013).

The high failure rate of small and micro businesses together with limited information about the operations of informal fashion micro-businesses and necessitated a study about the apparel product design and development process applied by custom-made apparel manufacturing micro enterprises (CMMEs). These micro-enterprises have an important role to play in poverty alleviation in South Africa despite implementing survivalist strategies, and they also provide a sense of self-worth and dignity to people who would otherwise depend on welfare (Grant 2013; Phakathi 2013; Campaniaris et al. 2011). According to Burke (2011), knowledge of design enables creativity and innovation and therefore to prosper, informal CMME owners need to be competent, as well as innovative (SME Reports 2014).

One of the most significant challenges faced by South Africans is the high youth unemployment rate. Government and the private sector are unable to create sufficient job opportunities to accommodate young graduates. Entrepreneurship is a significant solution in a climate of unstable economy, limited job security and abundant social issues. It is debated whether entrepreneurship can be taught. Some researchers believe entrepreneurs are born and cannot be made. However, employers seek people with specialised skills, quick learners who can easily shift from one role to another (Majithia 2017), competing on a global level. Fashion entrepreneurship education could help prepare students for real business situations, whether as entrepreneurs or responsive employees.

Historically, the Zulu indlamu costume is a traditional battle dress. Over the years, it has come to constitute a significant feature of contemporary theatre stages in South Africa. Like other traditional forms that have made the transition from original functionality into the realm of art as education and entertainment, its accompanying costumes and regalia have aided the process. Together with these iconic costumes and related regalia, the indlamu dance continues to play a prominent role in the propagation of Zulu art and cultural identity.