The design of Digital Journeys is informed by goal-setting theory, which emphasises the importance of clarity and specificity in supporting learning. Locke and Latham argue that effective goals are those that are “specific and challenging” rather than vague, as they “direct attention, mobilise effort, and encourage persistence” (Locke and Latham, 2002, p. 705). In educational contexts, unclear goals can increase anxiety and cognitive overload, as students expend effort deciding how to begin rather than engaging meaningfully with learning tasks. Within Digital Journeys, this theory is applied by making digital expectations explicit at each project stage, linking tasks to appropriate software, and visualising progression through a structured roadmap. In this sense, the resource functions as a goal-clarification tool, helping students translate abstract assessment briefs into concrete, achievable digital actions.
The project is also informed by goal orientation theory, particularly the distinction between mastery and performance orientations. Dweck describes mastery-oriented learners as those who focus on “learning goals in which they seek to increase their competence” rather than simply demonstrating ability (Dweck, 1986, p. 1041). By contrast, performance-oriented learning environments encourage students to prioritise grades and correctness, which can undermine confidence and risk-taking. Digital Journeys supports a mastery orientation by emphasising process over outcome, normalising iteration, and presenting software choice as part of an evolving workflow rather than a single correct decision. As Dweck later notes, learning environments that value growth and understanding foster greater resilience and confidence (Dweck, 2006).
This process-focused approach aligns with experiential learning theory, which understands learning as an active and iterative process rather than the passive absorption of information. Kolb defines learning as “the process whereby knowledge is created through the transformation of experience” (Kolb, 1984, p. 38), a perspective that closely reflects how fashion students engage with creative software through ongoing project work. In Digital Journeys, students’ interaction with different software tools constitutes concrete experience, while the visual roadmap supports reflection by making digital workflows visible and intelligible. Clarifying when and why particular tools are used supports abstract conceptualisation, enabling students to form transferable mental models of digital practice, while movement between software stages encourages experimentation and revision. This experiential process is supported through principles of scaffolding, which provide structured guidance at early stages of learning. Wood, Bruner and Ross describe scaffolding as enabling learners to accomplish tasks they “would be unable to achieve on their own” (1976, p. 90). By offering step-by-step visual guidance and task-specific software recommendations, Digital Journeys reduces cognitive overload while gradually supporting independent decision-making, integrating experiential learning with scaffolded support to build confidence and autonomy in digital workflows.
In addition to clarifying workflows, the project deliberately foregrounds visual and aesthetic design as a pedagogical strategy. Research in multimedia learning suggests that emotionally engaging and aesthetically considered materials can enhance motivation and comprehension. Mayer and Estrella argue that “emotional design can positively affect learners’ motivation and engagement” when visuals support rather than distract from learning goals (Mayer and Estrella, 2014, p. 14). Similarly, Um et al. found that visually appealing instructional materials can improve learners’ performance by fostering positive emotional responses (Um et al., 2012). These findings support the decision to design Digital Journeys as a visually clear, intuitive, and engaging resource.
Finally, the project is grounded in principles of accessibility and inclusion, responding to digital literacy gaps that can disadvantage some learners. The UAL Inclusive Teaching and Learning Framework emphasises the importance of designing learning resources that “anticipate and remove barriers to learning, rather than responding to them after the fact” (University of the Arts London, n.d.). In this context, Digital Journeys prioritises clear visual communication, legible design, and transparency of expectations in order to support equitable access to digital knowledge. This approach aligns with hooks’ argument that inclusive education should enable learners to “claim ownership of knowledge rather than merely consuming information passively” (hooks, 1994, p. 14). From a design perspective, Norman similarly argues that well-designed systems make actions visible and understandable, noting that “the real problem with interfaces is not that they are complex, but that they are confusing” (Norman, 2013, p. 9). By making digital workflows explicit and visually navigable, Digital Journeys aims to reduce barriers to independent learning and support students in engaging more confidently with creative software within fashion education.
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