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In a small Scottish village on the vast estate of King’s Foundation, filled with green grasses, manicured gardens and roaming farm animals, a group of students experienced firsthand what local and sustainable fashion looks like in the U.K.

A first-of-its-kind residency, completely free for students, the Planet Positive Residency sent 10 distinguished students focusing on fashion and textile design to the King’s Foundation, for a week this past fall to learn how traditional Scottish artisans, craftspeople and designers work with natural textiles and dyes.

“They were able to engage with the farmers who grow, who herd the sheep, breed the sheep, so they were able to see all the faces of the textile and fashion industry from where it starts from the fibers to the high-end finished products,” said Gözde Göncü-Berk, associate professor of design and . “It was very inspiring and broadened their perspective and their understanding of the industry."

Applications for the residency, supported by scholarships via the Maria Manetti Shrem Foundation, will open in the spring.  

Learning ‘slow fashion’ from Scottish artisans 

Kathryn Choy, who is majoring in design at �鶹��ý, is an advocate for what she calls “slow fashion,” especially garments that are handmade, traditional and cultural.

While at the Dumfries House residency, students visited in Edinburgh, Scotland’s oldest bespoke tailor that specializes in hand-tailored suits, legal and judicial garments, and kilts.

“You could tell there's a lot of care, a lot of consideration, put into these garments,” Choy said. “These are not mass-produced garments. These hold a lot of traditional significance and have a lot of history behind them.”

Seeing that sustainable, handcrafted fashion can be a profitable business was encouraging to Choy, who is particularly interested in working on traditional Chinese cultural garments. As fast fashion has become more prevalent, consumers expect quality clothing made faster and cheaper than ever before, she said. This can mean a disregard for the context in which a garment is made as well as for the artists and laborers behind its creation.

“By focusing on slow fashion,” Choy said, “it really taps more into the concept of tradition and quality and, also, sustains traditional techniques that can then be passed down from generation to generation, from teacher to student.”

Students embrace natural dyes and traditional techniques

Maya Leonard, a communication and design double major, said she enjoys experimentation and playing with designs and techniques that embrace asymmetry. The slower, more intentional processes she witnessed in Scotland have stayed with her since returning to the U.S. The natural dye workshop made the biggest impression.

“In more corporate, or fast fashion, everything has to be so symmetrical, so consistent throughout everything and, with natural dye, you're never going to get the same color twice — everything's going to be a little different. It's all unique, and I really love that,” Leonard said. “I wish we'd appreciate that more, that not everything has to be the same.”

She’s kept up her natural dying practice, learning how different colors and materials can be manipulated to get the desired effect.

“It just gets the gears in my mind going,” she said. “It's really like a science experiment.”

Experiential learning outside the classroom

Göncü-Berk said she had never seen her students be as focused as they were while learning and working at the Dumfries House. 

“Seeing students experience the environments where textile fibers actually come from — rather than only working with finished materials in the classroom — shifted how I think about teaching and learning,” Göncü-Berk said. “The difference is profound when learning happens outside the classroom, where you can be with the material in a direct, embodied way.” 

“I think seeing students so deeply in the flow was the most inspiring thing for me,” she added.

Even when the lessons and field trips were over for the day, she and the students would gather in a community room, sitting quietly or talking while they worked on separate projects like knitting, embroidery or sketching. 

It was almost as if there was a “collective flow,” Göncü-Berk said.