The first author had the privilege to examine master’s dissertations, as well as doctoral theses on design and design-related topics presented at six universities in South Africa. He furthermore supervised postgraduate students at four universities and served on a variety of postgraduate and ethics committees. This exposure and access to various examination reports and postgraduate assessment criteria provide an informed perspective of the scope, depth and outcomes of, as well as the assessment practices surrounding postgraduate studies in South Africa. Examination reports from examiners outside South Africa are, in general, more favourable with mark allocation than the examination reports issued by South African examiners.

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 emergence of young African social entrepreneurs who design social change could translate to significant social value design that, in turn, could improve the future of several communities. Nevertheless, the designed value will only benefit the continent if it is substantial and sustainable. The problem is that many social entrepreneurial endeavours are implemented without a long-term future focus or an understanding of how social value is conceptualised. For this reason, tertiary institutions in Africa should consider presenting training or education related to sustainable social value design.

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).

Interior design is a discipline concerned with human inhabitation. It provides the capacity for inhabitant identities to inform and be informed by the interior. Interiors are cultural products, reflective of societal identity and taste (Königk & Khan 2015). Following Bourdieu (1979 [1984]), tastemaking is a repeated, cyclic process. As tastemakers, interior designers are responsible for deciding how selected goods are made desirable through responding to, interpreting and shaping the tastes of society. The cyclic nature of interiors is prevalent in the commercial realm. The conventional fit-out lifecycle is governed by lease periods of five years and the physical deterioration of shopfitted elements after ten years of use.

My doctoral research critically explored design education in South African higher education through employing post-qualitative methodology. The research was approached from new materialist, posthuman theoretical perspectives. This implied that I set out to practise design research/education aimed at productive transformation in the institution that I work. I critically negotiated a range of individual experiences of being engaged in design/research/teaching in the Visual Communication Design curriculum at Stellenbosch University.

This paper compares selected analyses of the likely sustainability of society and the factors affecting it, including social, environmental, economic, and political. It examines the likely effects of these factors on South Africa, including possible interactions between them, cumulative effects and feedback loops. The literature increasingly suggests that these effects are likely to be extreme for the South African environment, society and economy, to say nothing of the rest of the world, within the working lives of current or near-future students, i.e. the next forty to fifty years.

Rapid and ongoing global changes are forcing educators to consider how students can be supported to navigate these events successfully. Reports from the World Economic Forum (WEF 2018) and the Organisation for Economic Co-operation and Development (OECD 2018) highlight the need for developing learner and worker agency and for embedding curricula with projects that develop problem-solving skills; enable deep thinking and reflection; and focus on transferable skills, knowledge, attitudes and values. There is an ever-increasing need for knowledge-based practice in the design industry, and the value of design research in addressing cross-disciplinary challenges has been noted by several government agencies.

Professional practice provides a context which requires design to be performed as an efficient and linear process (which may be a determining factor in the sustainability of practices). Research is an increasingly important component of accountability for design decisions.

In an earlier paper presented at a DEFSA conference, Munro called for a debate on and the development of a research ethics code tailored specifically for design – as opposed to simply importing, applying or borrowing ethical principles applicable (and as such possibly more suitable) to the medical and scientific disciplines.

The aim of this paper is to advocate likewise for a tailored research ethics code, but, more comprehensively, aimed at researchers working in the fields of art, design, as well as photography.

Undergraduate studies in design disciplines focus the design student’s attention on solving problems through designing projects in purpose-built studios or workshops while having regular face-to-face contact with design lecturers. Postgraduate research requires students to shift their focus from a practically orientated physical space to a theoretical-orientated mind space. The design research requires the student to engage with the solitary deep independent thinking supervision space in which contact and reflection occur. This paper will focus on the supervision space, which is described as both space and place in which the supervision interaction between student and supervisor takes place.

Graphic design as an academic and research practice is relatively young when compared to the established disciplines such as education, psychology, medicine, and history. It was only community-type colleges and technical institutions that offered design as a vocational trade. Universities in South Africa started to offer design in the latter half of the twentieth century. It is only in the last two decades that we have seen design research output in South Africa. The relatively low number of international design journals when compared to education, for example, attest to the young scientific discipline of research in design.

As a contemporary and boundary spanning approach, design thinking is entering higher education yet is unestablished in academic staff development. This study aims to reflect on two staff development interventions, one offered in the United States and one in South Africa, on blended learning course design, aimed at promoting a ‘design thinking mindset' among university lecturers. By analysing the design process and features of both programmes, we discuss the implications and potential of design thinking for academic staff development. Across these two contexts, there exists an increased awareness of and empathy for a diverse student body, the value of interdisciplinary collaboration, peer mentoring, and reflective thinking.

In this paper, I reflect on the transferability of the experience of completing a practice-based, as well as the findings of this PhD into my current teaching context in relation to recent developments and relevant literature. While my own study might have made several contributions to my field, and to my own personal development, I critically examine the scope and scale of my final PhD submission in relation to requirements stipulated by various South African institutions that are currently offering PhDs in visual arts and design, as well as recently awarded practice-based (or practice-led) studies in these fields.

In Christopher’s Frayling’s seminal account of design-orientated research, he lists research for design, research through design and research about design as the primary modes of research in the field of design. At least since Frayling termed these concepts in 1993, design educators globally have grappled with supervising research through design. While there are many accounts of research through design, few provide clear theory as to how the approach may be applied, least of all in design education. In the field of human-computer interaction, Zimmerman et al.