Abstract:

The creativity is at the centre of the debates in various areas, in political, business, technological, and certainly in teaching as well. There is much debate about how to measure creativity because it is a of intangible and emotional of feature parameter. In the Fashion Design teaching its evaluation is fundamental because it is a training that valorises the creativity as a fundamental element, from the beginning of the development process to the final product, in order to provide the products created with differentiation and competitiveness in the market. Although the possibility of measuring creativity is questionable, it is essential for understanding student performance, item needed in most educational systems in the world and in particular in the areas of arts and design. However, this should not be done in a arbitrary manner, requiring principles for uniformity in evaluation. This paper is part of the PhD in Fashion Design that seeks to innovation in teaching through creative methodologies, a fairer form of evaluation and with objective criteria, avoiding the personal opinion of each evaluator. Thus, a model for process and product evaluation based on several methods and authors is explored. It begins with Guilford, a precursor of creativity studies in the 1950s and “Divergent Thinking” with its “Eight Capacities”, which is the basis for the development of various techniques currently used. From the beginning of the eighties to the mid-nineties, Amabile emerges with the “Creative Component Model” that consists of three components necessary for creative work, with the purpose of explaining the influences felt in the creative process by social factors, cognitive, personality and motivational, with more emphasis on social and motivational factors. The Torrance method, which emerges in the mid-sixties, brings advantages of the measurement of creativity and also presents evaluative criteria; still in this decade Urban and Jellen appear with the Test of Creative Thought - Production Divergent, but directed to visual and non-verbal elements. Already in the new century Morais and Azevedo approach criteria that go beyond some thoughts presented by Guilford and Torrance, and direct the metric for creative products, that go beyond the creative potential and make creativity a manifestation. In this exploration we also addresses the application of Robert J. Sternberg of the Racsh statistical model, among other authors. The model in exploration after the pre-test phase provides for practical application for the 2018/2019 school year, in Portugal and Brazil, to consolidate and to improve the model.

Keywords:

Creativity, evaluation, methodology.