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Design has been in a period of change for the last decade but design education and more specifically design educators haven't kept up with these transformations. As a result design students continue to learn outdated methods and techniques. A designer needs to understand processes methods and mediums of design. At all of these levels the process is the same while methods may change slightly and the medium differs dramatically. Without expertise in mediums a designer is only able to facilitate what others do ; they become a means or a manager a step in communication repeating existing content without adding value. This makes such an individual easily replaceable. Design education usually places an emphasis on medium usually at the expense of methods and processes. Students learn a process but they quite often learn without comprehending. They are unable to negotiate the steps necessary to adjust to the realities of the environment and in the end that reality may be troubling for such an idealistic student. Without understanding the design process design students have no way of understanding a design problem or how to add constraints in order to better shape the problem into something that is manageable. We need to find a way to educate future designers providing them with a firmer grasp of design processes and a variety of methods - in other words comprehensive expertise of a medium. This implies a longer course of study than a simple undergraduate degree and a few years of graduate work ; most professionals receive this training more by actually doing design work and skipping formal design education. While some of the inability to keep up with changes is due to the difficulty of revising the curriculum the largest issue appears to in terms of subject matter methods theory and the reluctance of educators to give up what they learned and have been teaching for decades so that they can make room for new material. Design students of the future must learn design during their formative years studying both the abstract and tactical. This approach challenges the traditional system in which educators who have repeated the same tired exercises for years may find themselves teaching something that it is without an audience and as a result they may well find themselves without a role to play. But the new approach will create a cadre of competent designers for industry government and the non-profit sector where design thinking and detailed knowledgeable design is fundamental to address the complex and dynamic qualities of our world. (C) 2012 Published by Elsevier Ltd. Selection and/or peer review under responsibility of Prof. Ayse Cakir Ilhan

A look at the history of Nigeria reflects that in all spheres of life, nature has provided for the country to be a high performing economic success. Nigeria, the largest in Africa, is rich in human, cultural and natural resources. Nigeria could be described as the Greece of Africa. The influence of Nigerian arts, crafts and design have been felt strongly in other parts of the world. It is lamentable that while most emerging economies are harnessing design education for development and improving quality of lives of their citizenry, the Nigerian political climate has not enabled the formulation of strategic policies that can boost industrial climate of the economy. This has not provided the support and appropriate infrastructure for indigenous design education and development capabilities. The paper takes a look at the current political policies of Nigeria, its economic reality in the absence of formidable design groups and design policy that can enhance indigenous technical knowhow. The paper also examines the value oriented benefits inherent in design education as experienced in developed economies and how it can be channeled to make its contributions to grow the Nigerian economy.Â

ABSTRACT
This manifesto presents starting points for educators to reconsider fashion as a system of satisfiers for fundamental human needs. The manifesto calls for strategic adoption of design for micro-utopias in the fashion system. The challenges facing humanity are approached as opportunities for systems renewal. Fashion design must move beyond a disciplinary model of design to facilitate deliberate societal change over time. The manifesto frames the economy as a design problem and calls for fashion design to collaborate with economists and others on designing the sociomaterial systems in which fashion is produced, used, and discarded. How does fashion repress, tolerate, or stimulate opportunities for people to fulfill their fundamental needs? How can fashion design actively facilitate satisfying fundamental human needs? The manifesto concludes with a call for design educators to be guardians of the possibility of possibility. Design needs to design design itself while concurrently designing the world at large.