Signature Pedagogies in Art and Design: Reflecting on My Teaching Practice
Orr and Shreeve (2017) discuss the concept of signature pedagogies in art and design education, referring to the distinctive ways disciplines teach students to think, practise and develop professional identities. Drawing on Shulman’s work, the authors argue that signature pedagogies shape how students learn to approach problems, critique ideas and engage with disciplinary knowledge. In art and design, these pedagogies often include studio-based learning, critique sessions, experimentation, and reflective practice, which collectively encourage students to develop creative and critical thinking skills (Orr and Shreeve, 2017).
One key insight from the reading is that teaching approaches in creative disciplines are not only about transferring knowledge but also about socialising students into ways of thinking and practising within a field. The studio, critique and project-based learning environments allow students to develop independence, resilience and iterative thinking as part of their professional formation (Orr and Shreeve, 2017).
Although my teaching sits within fashion business education rather than design practice, I recognised many parallels with my own pedagogical approach. Much of my teaching focuses on applying theoretical frameworks to real-world fashion retail contexts. Rather than relying solely on lectures, I frequently use interactive seminar activities where students analyse brands, develop strategic ideas, or respond to live industry briefs. For example, in units such as Creative Retail Futures, students work collaboratively to develop innovative retail concepts in response to industry challenges. This project-based approach mirrors aspects of studio pedagogy by encouraging experimentation, iteration and peer learning.
The reading also prompted me to reflect on the importance of critique and dialogue as part of the learning process. In my seminars, students often present ideas and receive feedback from peers, which encourages them to articulate and refine their thinking. However, unlike traditional studio critiques, some students, particularly in large and international cohorts that can feel hesitant to share opinions openly. This highlights the importance of creating inclusive and supportive environments where students feel comfortable engaging in discussion.
Moving forward, I would like to further integrate elements of art and design signature pedagogies into my teaching. For example, incorporating more structured peer critique sessions and encouraging students to iteratively develop their ideas across workshops could strengthen reflective and collaborative learning. By blending analytical business frameworks with studio-inspired pedagogies, fashion business education can support both critical thinking and creative problem-solving.
Reference
Orr, S. and Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum. London: Routledge.