3D

Sandy Bailey, an Assistant Professor at Missouri State University (MSU), has poured her blood, sweat and tears into her work and students, never craving a spotlight or any form of recognition. Without any incentive – in fact, quite the opposite – Sandy saw how the industry was changing at a PI Apparel event and took it upon herself to embark on a 2-year journey to completely transform MSU’s Fashion Design program with 3D. We have covered the lack of alignment between education and industry as a topic for many years and here is a person, mostly single-handedly, actually making massive and meaningful strides in overcoming this challenge.

What started out as a quick email from her asking for all and any help to secure her students internships, blossomed into a couple of wonderful calls where I got to know Sandy and to find out more about her work, mission and drive. I hope you enjoy!

Hi Sandy and welcome to Seamless! It was amazing to see you in person at the recent PI Apparel NYC event and thrilled that you enjoyed your time there! And so pleased you could take the time to speak with me today about what you’re doing at MSU! Let’s start easy: please can you share with our readership a little about who you are and your Fashion journey to date?

It was great to see you there – the event was perfect! My mission was to start finding 3D internships and let’s just say I came away feeling quietly confident for the future! And as far as speaking to you today, it’s my pleasure!

Ok, so a bit about me: my name is Sandy Bailey and I am an Assistant Professor in the Merchandising & Fashion Design department at MSU. Interestingly, I never intended on becoming a teacher; my initial goal was actually to work within the industry itself. Right after high school, I started working in the industry as a Pocket Setter for a small manufacturer near my hometown. From there, I transitioned from the sewing floor to the Sample Department, collaborating with Designers in New York to create samples which sparked my interest in the design side of things.

Following that, I moved to Kansas City to work as a Pattern Maker and Grader for Lee Apparel Company and then joined the Mid-America Manufacturing Technology Center, a consulting service where I helped various small manufacturers across Missouri. It was during that time that I received a call from MSU to teach an Apparel Manufacturing class. I thought it would be fun and a new challenge, so I agreed…twenty-four years later, I’m still here! Funny how things play out…

I guess what I want to stress is that I’m not your traditional academic; my background is firmly rooted in industry. I never expected to stay in academia for so long, but I’ve grown to love it. Over the years, I’ve taught 22 different classes, some of which I’ve repeated multiple times. 

The fashion industry is always evolving, and it’s been exciting to incorporate those changes into our degree program wherever possible; it’s been a remarkable rollercoaster of a journey!

The Fashion Industry is indeed evolving and these days, at an unprecedented rate. And on that note, we’re here today to talk about the total rehaul you’ve championed of the school’s Fashion Design agenda – what were the drivers behind that?

There were a fair few! Look, since 1999 I’d been teaching flat pattern design in the same traditional way; I used to tell students not to worry about sewing because they wouldn’t be doing it in the industry. But this consistently led to a lot of wasted materials and a growing sense of dissatisfaction. Sustainability also started to become more and more of a focus for me; it’s no secret that our industry is quite wasteful and I realized that we had a significant opportunity and obligation to help tackle that. And another big driver was ensuring that my students had the marketable skills that the ever-changing industry specifically seeks when hiring graduates. 

I guess overall, it became abundantly clear that I wasn’t making the difference I wanted to make or should be making as an educator.

I questioned whether we were doing enough to prepare our students for the real world and concluded we weren’t and that more could be done. I also concluded that the integration of 3D education was the way forward.

Initially, I thought the solution was to add a single new class, but as I delved deeper into the issues of sustainability and true transformative education, I realized that wasn’t going to cut it. 

We needed a complete overhaul and a fresh start which was both exciting and daunting; the idea of completely reinventing the curriculum was a huge challenge, but ultimately, it was necessary for the meaningful change we wanted to achieve.

_{A Snapshot of Vyda Frisby‘s Final Digital Runway Collection:}

Absolutely! We’ve heard time and time again from industry that graduates are just not primed well enough to hit the ground running when they enter the industry so a fresh look with 3D makes sense. What did the process for this rehaul look like in practice?

Well, after realizing that integrating 3D into our curriculum was the right direction, the first step was to select a software partner. After the evaluation of several options, we ended up choosing Browzwear and with that decision sorted, the next challenge was learning how to use it and determining how to incorporate it into our existing Fashion Design classes.

Unlike traditional programs, where students might not encounter such software until their junior or senior years, I wanted our students to begin using it from the start. This approach would allow them to become proficient over multiple years and to truly explore its full range of capabilities. And to understand what the industry needed from graduates skilled in 3D, I figured who best to ask than industry professionals themselves. That’s when Browzwear’s educator recommended attending your PI Apparel events, which turned out to be invaluable.

At my first PI Apparel event in Los Angeles back in 2022, I had the opportunity to meet with a number of brands who were using 3D in various ways. These interactions provided diverse perspectives that helped me grasp the broad range of 3D applications for industry. One significant breakthrough was attending a meeting of the 3D Retail Coalition (the 3DRC) education committee. At the time, they were developing a certification with a comprehensive matrix of tasks, which gave me clear guidance on the skills our curriculum should develop.

And with this information to hand, as well as teaching myself the software, I began rewriting course descriptions, objectives, and deciding how to integrate the technology into each class. The goal was to teach both design and software skills simultaneously. We planned projects and defined expected outcomes for each course, ensuring students would gain practical and relevant skills.

I want to add that we didn’t do this alone; I shared our proposed curriculum with several industry professionals that I had met at PI Apparel, as well as our advisory board members and my department head. Everyone provided invaluable feedback which then helped me to refine our approach and ensure it aligned with industry needs.

Convincing everyone of this new direction wasn’t easy, but the support from industry experts and our advisory board was crucial. It validated our efforts and helped demonstrate that this overhaul was not only necessary but also highly beneficial for our students’ futures.

_{A Snapshot of Kya Wilson’s Final Digital Runway Collection:}

It really warms my heart to know that PI Apparel played a role in this rehaul, something I will for sure feed back to my team as well. We’re always in planning mode and don’t always appreciate the impact we are having! Now I don’t necessarily want this to become an ad for our friends at Browzwear, but how did you approach the evaluation of the tools out there and what made you decide that they were the right choice?

The funny thing is, the whole process started with a simple Google search. I was looking for any article that could tell me who was doing 3D well in the industry and my desktop search led me to three different companies: Optitex, CLO and Browzwear. I arranged live demos for each, involving faculty and a couple of students, one of which was Britney Spangenburg who I’m thrilled you’ll be interviewing for Part 2 of this story! And look, each demo had its strengths which made the decision challenging.

I teach my students Pattern Drafting because I believe it’s essential for them to understand where measurements come from to make garments fit better. During my undergrad, I only worked with blocks and had to teach myself drafting later when I needed it professionally. Browzwear allowed drafting directly within the software while viewing 2D and 3D simultaneously, which was a game-changer and really appealed to me. 

I also wanted a software that emphasized garment construction – not just knowing how garments are physically put together, but understanding the process on a technical level. Browzwear provided this, allowing students to set up garments without worrying about physical issues like breaking needles or winding bobbins.

Furthermore, Browzwear supports grading, which is vital because not everyone is a size 2, right?! I enjoy teaching grading, and it’s essential for producing garments that fit a range of body types. The software seemed to fit our program’s focus on ready-to-wear and product development the best rather than couture or runway fashion, though it certainly could handle that too!

So yes, given my technical background and expertise in pattern making, as well as what our course leans towards, Browzwear felt like a natural fit for our needs from the get go. Even with the hours spent learning the software, it has proven to be the right choice for equipping our students with the skills they need in the industry, though I still want to shout out CLO and Optitex who were great supporters of what we were working on!

We have of course worked intimately with all three of those providers over the years and yes, their teams really are great! I wanted to pause here for a second and ask you more about your own 3D education. It sounds like you made the very sensible and vital decision to upskill yourself in 3D before you could make the curriculum changes; how did you find that experience?

Yes, I decided it was pointless to make these changes if I could not use the software myself and in turn, best support my students. And honestly, I felt like I was back in school again. I tried to be very regimented in learning the 3D process, and one of the great assets of Browzwear was their online training classes, which allowed me to teach myself at my own pace. If I wanted to rewatch a video, I could, and these classes included projects to help reinforce the learning.

Watching videos alone isn’t enough though to learn the software – you have to actually use it. So, as I was learning, I kept a huge notebook where I documented each class and noted where I would integrate it into our program.

I’d like to say it was a ‘fun’ summer…I mean it was, but it was hard! Very intense but now I’m through it, incredibly rewarding too!

_{A Snapshot of Madeleine Brady‘s Final Digital Runway Collection:}

OK, so you spent the Summer teaching yourself the software and building out the new curriculum, did you then hit the ground running when term started that year with the new classes?

I wish – it actually took almost two years to get from the initial idea to having the new classes approved. However, since we already had Browzwear and the classes weren’t officially approved yet, we started incorporating some components into the existing curriculum. We began transitioning softly, even though the official transition was supposed to happen later.

Just like in any company, we had students who thought this was the worst idea ever and others who thought it was the coolest thing since sliced bread. We got both extremes, but overall, it was a learning curve for everyone involved and only possible because the students were open-minded and trusted me when I said this would only serve to benefit them. 

This summer, I’m actually going back through our courses because I know so much more now and I understand where the students typically struggle. I need to revisit everything to ensure we’re addressing those common issues; it’s certainly not a case of ‘ok that transition is done now, let’s leave it there.’ It’s an ongoing process.

I will add, another great advantage of Browzwear is their extra classes. They have educators who offer additional training sessions, which is incredibly helpful. Besides that, if you want to learn something specific, you can usually find a video online—someone has probably done it and created a tutorial. They have several resources out there that we’ve referred back to whenever we were doing something unique in our projects.

_{A Snapshot of Sydney Warren‘s Final Digital Runway Collection:}

I love that you mention resistance to change, something our friends in industry are no stranger to. You mentioned already how the students reacted and I’ll get more on that from Britney in Part 2 of this interview, but how did your fellow faculty members react to the overhaul?

Managing resistance to change, especially from fellow faculty members, was one of the most challenging parts of the transition. 

While I was able to get the Advisory Board, administration, my department head, and the Dean on board by presenting compelling statistics and outlining our plans, convincing the faculty proved to be the toughest hurdle.

And look, I understand their perspective because had the initiative not been my own, I might have reacted similarly. I could have retired recently, but I chose to stay because I wanted to make a difference. Despite my husband thinking I’m nuts, I wholeheartedly believe this change is essential for our students and industry. 

But anyways, I found an old syllabus from 1999 for flat pattern, and it hadn’t changed much over the years so this was big! To overhaul an entire program requires total commitment and a willingness to invest a significant amount of time learning something new.

Once we chose the software, we expected everyone to take the time to learn it. I’m happy to say that most did, however, we did have to keep granting extensions to one faculty member. Eventually, I couldn’t wait any longer and began writing the new classes which I sent to her for feedback, but what I got back was always unsettlingly vague. It for sure raised doubts about whether she was genuinely engaging with the software and it turned out she wasn’t, and she ultimately decided to retire. This was a significant event, but it paved the way for hiring a replacement who knew from the outset that learning the software would be a crucial part of their job.

Implementing such a comprehensive change in academia means everyone must be fully on board, or you might need to make staffing changes. 

But it wasn’t all on them; overcoming this resistance required making myself available and ensuring collaboration at all times. From the beginning, I involved all stakeholders in the journey. Everyone watched the demos, provided feedback, and shared their interests. 

For the most part, despite the hurdles, the faculty have been great; I should maybe take this opportunity to once again thank my peers for sticking with it and putting up with me!

_{A Snapshot of Hadley Berry‘s Final Digital Runway Collection:}

In the couple of times we’ve spoken, I get the sense that you are incredibly patient and supportive which I imagine has served this process well! Now, with the speed at which things continue to change you have already mentioned that this rehaul is not a one and done, but a continuous journey of change. How do you go about that continuous evolution of your syllabus?

Oh how I’d love to say that we’re done and that we put together the perfect program with all the perfect course titles the first time, but yes, alas, the reality is that the syllabus is always evolving – it has to! We have seven dedicated digital design classes, and just last Fall, I changed three of them already. I believe this process will continue, with edits and changes being a constant part of the journey.

Your readers are going to think this is a promotional piece for PI Apparel but truly the events have been a significant asset in this evolution; it’s like a one-stop shop where I get two days of immersed information, allowing me to see what’s happening in the industry and make changes accordingly. 

For instance, last year in New York, Browzwear discussed their AI application and whilst initially, I was freaked out, this revelation that AI was only going to become more prominent pushed me to think about how we could incorporate it into our curriculum. We started by creating prints using AI and incorporating AI elements into Photoshop projects.

Instead of fearing AI, I embraced it, learning how to use it as an asset rather than a liability.

Another key aspect of our continuous evolution is our internship and position placement program. Our internships are interactive with our hosts, and the feedback we receive from these experiences is invaluable. Additionally, our Alumni and Advisory Board often reach out with ideas for projects based on their real-world experiences, prompting us to adjust our curriculum to better prepare current students.

So yes, the syllabus is never truly finished. It’s a dynamic and ongoing process influenced by industry developments, technological advancements, and feedback from students and Alumni. We strive to stay ahead and ensure our students are well-prepared for the evolving landscape of the fashion industry.

_{A Snapshot of Koli Croy‘s Final Digital Runway Collection:}

Quite the investment you’ve taken on at MSU but so very necessary. You’ve mentioned your Advisory Board a couple of times already; who sits on that board?

The majority of the members on our Advisory Board are Alumni from the past 22 years. It’s amazing to see the range of our former students’ careers; we have Alumni working at Walmart corporate headquarters, and others that are independent designers working out of New York. There’s a wide variety of roles represented, including even a zipper salesman.

And these are Alumni from both our design and merchandising programs. They have been incredibly supportive and wonderful in providing feedback and guidance and help ensure our program remains relevant and meets industry needs.

Amazing! Now, you’ve emphasized the significance of industry connections throughout our conversation. How have these relationships influenced your approach and decision-making processes?

Our industry connections have been nothing short of crucial for shaping our program effectively. Without these connections, it’s challenging to know what skills and knowledge are most relevant for today’s students. Over my 24 years of teaching, I’ve seen a significant shift in how students learn and what the industry demands. It’s my responsibility to align our curriculum with these evolving needs.

I actively seek input from industry professionals to understand their current challenges and priorities, and this feedback directly influences our approach to teaching. And companies I’ve engaged with have diverse expectations from our students in terms of 3D design skills. For instance, during a conversation with a New York company last year, I learned that collaboration skills were highly valued. This insight prompted us to emphasize collaborative projects in our curriculum, ensuring our students are well-prepared for real-world scenarios.

Others have emphasized the ability to make precise pattern adjustments quickly. This skill is crucial because many companies already have basic garment blocks and need Designers who can efficiently modify these patterns to meet specific design requirements. Others seek problem-solving skills, where students can analyse and troubleshoot issues that arise in 3D simulations of designs provided by external partners.

Another area is the understanding of materials and their applications which remains a cornerstone of our curriculum evolution. This includes comprehending stitches, seams, and fabric characteristics deeply. In response to that feedback, we introduced a dedicated materials class where students delve into these details extensively. Other companies have stressed the importance of achieving photorealistic representations in 3D designs. They expect students to simulate garments authentically, considering both exterior aesthetics and interior details like seams and finishes.

Additionally, sizing and fit proficiency are highly valued by employers. Historically, our program focused on fitting garments to live models, which had limitations. In contrast, using digital avatars allows students to experiment with various body types and sizes, enhancing their understanding of fit across different demographics. This approach accelerates the learning process, enabling students to iterate and refine designs more swiftly than traditional methods.

Lastly, companies have expressed a keen interest in students’ ability to manage grading and sizing in 3D environments. Traditionally, our students could only grade a single garment panel due to time constraints. But with 3D tools, students can now practice grading multiple garments comprehensively, honing their skills in rule libraries and grade calculation. This advancement better prepares them for the complexities and demands of the industry upon graduation.

That was quite a lot but in essence, the industry’s dynamic nature requires us to adapt quickly and we’d be arrogant to think we can rely solely on academic intuition; we need real-world feedback to stay relevant. This approach not only enhances our program’s quality but also ensures our graduates are sought after by employers looking for specific skills and abilities.

_{A Snapshot of Emma Kluth‘s Final Digital Runway Collection:}

Absolutely – this sounds great and makes so much sense! Has portfolio development come up at all in the feedback you’ve received, as I know that is something employers are looking for?

Oh yes – in integrating portfolio development into our curriculum, my approach has been focused on empowering students to showcase their digital design skills effectively. While certification has its merits, our students are primarily driven by their career aspirations in the fashion industry; they want tangible proof of their abilities beyond a certification checklist. Therefore, in each of our classes, students undertake projects that not only demonstrate their technical skills but also serve as portfolio pieces.

For instance, students draft fundamental garments like bodices, skirts, pants, and knit basics. These assignments go beyond mere completion and require students to create portfolio entries that exhibit their pattern drafting prowess and 3D garment simulations. Whether presented as a PDF, Illustrator file, or in Photoshop format, these portfolio pieces showcase both the detailed pattern work and the finished 3D garment on an avatar. This format allows prospective employers and/or reviewers to see the practical application of their skills in a visually comprehensive manner.

The process of compiling these portfolio pieces is crucial for students’ self-assessment and realization of their progress. It’s not just about drafting a piece; it’s about seeing their work come together in a cohesive manner that demonstrates their proficiency in digital design. This approach not only enhances their confidence but also prepares them to effectively communicate their skills and achievements to potential employers in the competitive fashion industry.

So yes, based on industry feedback, portfolio development has become a cornerstone of our curriculum, ensuring that students are not only learning skills but also learning how to effectively showcase and market those skills in the professional world.

_{A Snapshot of Georgia Horsch‘s Final Digital Runway Collection:}

How would you say the curriculum overhaul has benefited your students?

Despite initial resistance, I like to think the overhaul has brought significant benefits to our students. One notable success story involves a student who vehemently opposed the changes initially but eventually excelled in 3D design. Despite being skilled in manual sewing, she realized during the senior collections showcase that embracing digital tools allowed her to execute her creative visions in ways traditional methods couldn’t match. 

Another student struggled with garment construction but excelled in drafting and materials. Previously at risk of failing, she now excels creatively, demonstrating a newfound strength in design that was previously overshadowed by her sewing challenges. For many students, the curriculum’s emphasis on portfolio development has been transformative, helping them discover and showcase their strengths in specific areas like material design or technical drafting.

The expanded opportunities in experimenting with different aspects of product development have also allowed students to find their passions and hone their skills accordingly. This has not only made them more confident, but also equips them with tailored portfolios that highlight their expertise in areas most relevant to potential employers. 

The ongoing transformation of our curriculum continues to empower students to excel by embracing new technologies and focusing on practical skills. The shift seems to have, so far, been instrumental in unlocking creativity and preparing students for dynamic careers in fashion. Here’s hoping we can keep it up!

Whilst I appreciate this kind of transformation is hard – you’ve literally poured your blood, sweat and tears into it – what do you think is stopping more educational institutions from embracing change in how and what they teach?

Part of the problem is that we don’t have enough innovators in education; they’re mostly all in industry. 

Personally, I’ve been proactive in embracing change, but there’s been no incentive to do so. Yet, these initiatives have been met with enthusiasm from students eager to gain relevant skills, as well as from prospective employers.

But it’s not just that – the industry has a big responsibility too. Many still accept graduates with traditional skills, overlooking the necessity for 3D expertise. This perpetuates a cycle where academic institutions, rewarded for maintaining the status quo, hesitate to implement new approaches. And this situation is only exacerbated by the industry’s urgent demand for skilled labour, creating a challenging dynamic between academia and the workforce needs.

Many degree programs continue teaching outdated courses simply because they’ve always been part of the curriculum, rather than innovating and adjusting to current industry demands. We need to be collaborating more.

If academia, industry and the technology providers all made a concerted effort to meet, work together and align, there would be a promising pathway forward toward more relevant and dynamic educational experiences. Maybe something for PI Apparel to be thinking about…

_{A Snapshot of Elissa Meyers‘ Final Digital Runway Collection:}

Haha, indeed – I’ll add it to the list! This has been a great interview Sandy and it seems right to end with this: what advice would you give to other academics reading this that perhaps are considering embarking on a similar journey?

Don’t do it! No, I joke!

My advice is rooted in patience and preparation!

It’s essential to understand that the process can be lengthy and bureaucratic; it took me two years for development and approval within MSU. And while the pace may frustrate those eager for immediate change, it’s crucial to persist with a focus on student needs and program goals.

During the transition, expect mixed reactions from students – a blend of dissent and enthusiasm. Some may resist the new direction initially, while others will thrive in the updated environment. This diversity underscores the importance of staying committed despite the challenges. The payoff lies in the ability to teach a broader range of content at a faster pace, catering to students who prefer hands-on, efficient learning methods over traditional lectures.

What else…be prepared to invest significant time in developing new materials tailored to your curriculum. Personalizing educational resources, such as rewriting drafting instructions to integrate software like Browzwear, ensures students grasp not just the technical steps but the underlying principles. This effort pays off in the classroom when students can draft multiple garment types in full scale and retain them for future designs, enhancing their creative potential and portfolio quality.

If you are a fellow academic and you’re reading this: despite the challenges, the transformation is immensely rewarding and only serves to help us do our jobs, namely to empower and prepare students for the future!

Thank you so much Sandy for taking the time to speak with me today and for sharing your story. I’m looking forward to seeing you soon at another PI Apparel event! For those who would love to hear more, please feel free to reach out to Sandy directly at sbailey@missouristate.edu

In Part 2 of this interview (coming soon), I will be speaking to one of Sandy’s students about their experience with the curriculum overhaul and how it’s aided them in landing their first job in industry…

Have any questions or comments? Pop them in the comments section below and we’ll come back to you!