Design for social good refers to the application of design knowledge and skills to solve problems to enable a better future. From a fashion perspective, design for social good could refer to the pursuit of environmental sustainability and to uplift communities. Design education, at undergraduate-level aims to encourage students to apply design knowledge to improve the world and potentially introduce research methodology. However, literature concerning pedagogical strategies for design for social good in a South African fashion design higher education context is lacking. To fill this gap, a design for social good teaching and learning project was presented to third year Fashion Diploma students at a South African fashion higher education institution.

This paper explores how the principles of Cosmopolitan Localism, specifically the Small, Local, Open, and Connected (SLOC) framework, can be operationalised within sustainability-focused fashion design education. Drawing on a practice-based, qualitative research study conducted within an undergraduate fashion design programme at a South African university, the paper analyses a pedagogical intervention aligned with the global Fashion Revolution movement. The intervention included a three-week experiential learning module, the Fashion Revolution Designathon, and a campus-wide clothing swap event to embed ethical awareness, material circularity, and critical design thinking into the student learning experience.

The rapid advancement of artificial intelligence and digital technologies is prompting significant shifts in fashion design education, aligning with global transformations under the Fourth Industrial Revolution (4IR). This paper examines how generative AI platforms such as ChatGPT, Midjourney and DALL·E are influencing early fashion design ideation and concept formation, especially at the sketch and exploration stages (Särmäkari & Vänskä 2021; Zhou et al. 2023). These tools are reshaping creative workflows by supporting faster visual exploration, expanding conceptual possibilities, and encouraging sustainable practices.

At undergraduate level, research design and methodology was never a formalised part of the fashion education curriculum. Furthermore, fashion-related modules tend to comprise content predominantly of a Western nature: for example, the ‘history of fashion’ is often presented from a European perspective. In comparison to the vast, multi-disciplinary discourse relating to Western fashion, literature on African fashion is limited, which poses challenges for teaching, learning and curriculum transformation. The call for decolonisation has established a need to narrow this gap.