I have been very lucky within my career to work primarily around DE&I, which has come with its complications, frustrations and huge learning curves. In this blog I attempt to unpick a few papers that have helped me with my career so far and some new ones I have been introduced to by the PGCERT, looking at mapping Anti – Racism in Fashion education through this research. I do however recognise that I come from a privileged place as a middle class white woman, and can honestly say that at the beginning of my career in DE&I I didn’t recognise this !
Rachael Garrett’s study on the career trajectories of racialised minority PhDs in UK higher education highlights how systemic racism manifests through subtle exclusion, limited mentorship, and constrained career imagination (Garrett, 2024). She argues that beyond representation, structural and cultural shifts are vital to affirm intersectional identities and challenge dominant norms. This resonates powerfully within fashion education, where visibility, networks, and institutional recognition significantly shape emerging designers’ career pathways.
Asif Sadiq’s TEDx talk further expands this critique, warning that superficial DEI efforts—driven by quotas or optics—often neglect the lived experiences of minoritised individuals. He urges the adoption of equity-driven systems that adapt teaching practices to individual needs, emphasise empathetic learning cultures, and measure success by genuine belonging—not merely demographic targets (Sadiq, 2023).
Complementing these scholarly perspectives, Kelly Parker’s research uncovers a specific stereotype: Black fashion students are pigeonholed into sportswear design, particularly tracksuits, echoing grime and gang imagery. Parker’s analysis critiques how fashion education reinforces racial tropes by expecting Black students to default to athleisure aesthetics (Parker, 2022) University of Northampton+1SAGE Journals+1. This assumption limits creative exploration and reinforces institutional whiteness by contextualising Black designers only within narrow stylistic frames.
Analysis & Positionality
These three strands—Garrett’s systemic critique, Sadiq’s call for equitable cultures, and Parker’s stereotype challenge—create a robust analytical framework. Garrett’s focus on marginalisation aligns with your observations of staff stereotypes: tutors assuming Afro-Caribbean students will design African headwraps, or young Muslim students defaulting to modest fashion, regardless of their actual interests, all of which I have had experience of ! These biases replicate the sportswear trope Parker describes, restricting creative identity and self-definition among students of colour, again something which I have also experienced as some tutors expectations.
Sadiq’s emphasis on equity over optics parallels the work I did leading the British Fashion Council’s education DE&I group. And my previous work in widening participation at CSM, more recently designing a culturally responsive MA project with Ghanaian partners, and ensuring equitable resource distribution—demonstrate that equity must be embedded through structural change, not just represented superficially.
Implications & Recommendations
To move beyond tokenism, the following strategies are critical:
Culturally Responsive Mentorship
Establish mentoring schemes pairing students of colour with designers and tutors of colour (e.g., UoN–AFWL model) University of Northampton. This builds confidence and expands career networks, directly addressing Garrett’s call for structural recognition.When I was in WP I set up a project called RAP ( Retention and Achievement Project) this did exactly this, I have been thinking of ways to bring it back.
Decolonised Curriculum & Assessment
Audit projects and rubrics for cultural exclusivity. Include diverse design traditions—beyond Western sportswear stereotypes—and integrate global perspectives, as supported by Blanchard‑Emmerson’s advocacy for anti-racist pedagogy University for the Creative Arts – UCA+1University for the Creative Arts – UCA+1. This was useful when designing the MA FD Ghana Makers Camp project.
Equity‑Driven Systems
Use Sadiq’s framework to shift from meeting quotas to nurturing belonging. This includes staff training on unconscious bias, restorative assessment tools, and feedback loops that measure culture and belonging, not just metrics. This can also be done at our team DE&I meetings.
Stereotype Awareness Workshops
Facilitate peer‑led dialogues unpacking assumptions—tracksuits for Black students, headwraps for Afro-Caribbean identities, modest fashion for Muslim students. These structured conversations surface hidden bias and honour student narrative agency. This can easliy happen with MA and BA alumni and could be done as part of the Fashion Alumni group that is set up, or more broadly the UAL alumni association.
Conclusion
By linking the insights of Garrett’s structural critique, Sadiq’s equity ethos, and Parker’s stereotype challenge, fashion educators can dismantle racism embedded within institutional culture and practice. My ongoing leadership—through curriculum reform as KE lead, equitable mentoring as a CSM Fashion tutor, and platform-building via the BFC and London Fashion Week—exemplifies this integrative approach. Continued investment in culturally responsive mentorship, anti-bias education, and curriculum decolonisation will foster CSM Fashion studios where creativity is inclusive, identity is self-defined, and anti-racism is foundational.(In a perfect world – we do however have a bit of a way to go !)
References
Garrett, R. (2024) Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education. Globalisation, Societies and Education.
Parker, K. (2022) ‘Grime, gangs and the perpetuation of stereotypes by sportswear brands in the United Kingdom’, Critical Studies in Men’s Fashion, 9(1), pp. 77‑98.
Sadiq, A. (2023) ‘Diversity, Equity & Inclusion. Learning how to get it right.’ TEDx, 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed: July 2025).
Blanchard-Emmerson, J. (2023) ‘Do #BlackLivesMatter in the education of fashion business students?’, in Intersectionality and creative business education: inclusive and diverse cultures in pedagogy. Palgrave Macmillan, pp. 67‑92.
This reflective report explores an intervention I have designed to enact intersectional social justice within the Fashion programme at Central Saint Martins (CSM), University of the Arts London. Rooted in my personal and professional experiences in widening participation (WP), the intervention addresses systemic inequalities that shape access to and progression within fashion education. Having spent much of my career working in outreach, recruitment, and inclusion, my approach is informed by both lived experience and academic theory, as well as a deep commitment to equity within creative education.
Before taking on my current role as Lead for Knowledge Exchange in Fashion, I worked in the university’s WP team—now renamed Insights—a change that signals a more proactive and expansive approach to inclusion. My journey into WP began when my own children attended an inner-city state school in Hackney in the late 1990s. I volunteered in their Textiles classes, eventually running fashion projects and supporting school fashion shows. The school’s cohort was incredibly diverse—African, Caribbean, Turkish, Chinese, Greek, and South American—comprising predominantly working-class students. Many were deeply creative and passionate about fashion and the arts but lacked the cultural capital and structural support to access higher education pathways.
This early grassroots engagement revealed the stark inequities embedded in the education system. At the same time, I was working as a Higher Education Lecturer (HPL) at CSM and became increasingly aware of how disconnected my student cohort was from the young people I met in schools. While CSM has long positioned itself as a progressive and innovative space, the reality is that many of its students are white and privileged, both from the UK and internationally. Structural inequalities were mirrored in the classroom: students of colour often encountered implicit bias, and some staff failed to recognise their potential or cultural contributions. I recall one tutor being surprised that a Black student had A-levels—an encounter that painfully encapsulates the low expectations and prejudiced assumptions that persist.
These observations led me to work more intentionally in WP—first through outreach, supporting access to creative education, and then in-reach, supporting students once they were enrolled. My intervention builds on this dual focus and aims to address the “uneven” learning experiences of students of colour and those from low-income backgrounds at CSM.
Jackie McManus (2009) explores how working-class students entering elite institutions are framed in deficit terms, writing that “every word starts with ‘dis’”—disadvantaged, disengaged, disaffected. This framing can perpetuate exclusion and reinforce inequalities. Similarly, Bhagat and O’Neill (2011) argue that inclusive pedagogies must be grounded in intersectionality and an understanding of structural inequality. Their work calls not just for inclusion in the classroom but for a transformation of how the classroom itself operates.
As a practitioner with strong industry ties, I have also seen how the lack of diversity within fashion design teams reflects broader educational inequalities. This intervention is a response to those structural issues, aiming to centre student voice, foster co-created learning, and challenge exclusionary practices. The report will critically reflect on the development of the intervention, the feedback received, and the potential pathways for embedding inclusive practices into fashion education at CSM and beyond.
Context
This intervention is situated within the Fashion programme at CSM and is aimed at supporting both access and progression for marginalised students, with wider relevance for other HEIs and the fashion industry. Drawing on my background in WP and my current role in Knowledge Exchange, it consists of two core phases. The first introduces FE students to fashion pedagogy at CSM through curriculum-linked sessions exploring research practices, the importance of process, and expectations around primary and secondary research. This demystifies HE fashion education and aligns students’ learning with institutional demands. The second phase supports progression by offering one-to-one academic tutorials for WP students who progress to CSM, helping to unpack briefs, develop confidence, and promote engagement. The model can be scaled nationally and adapted for online delivery, supporting FE colleges and students outside London. Ultimately, it aims to challenge structural disadvantage by creating more transparent and inclusive learning environments across the fashion education pipeline.
Inclusive Learning
Inclusion is central to my academic and professional practice. I led the educational DE&I working group for the British Fashion Council for three years following Black Lives Matter, contributing to national policies promoting fairer representation across education and industry. My intervention reflects this commitment, and is grounded in key theories of inclusion and widening participation.
Jackie McManus (2009) foregrounds the importance of acknowledging class-based barriers and how WP students are often framed in deficit terms. Bhagat and O’Neill (2011) advocate for intersectional inclusive pedagogies that centre lived experience and interrogate dominant narratives in creative education. Their call to transform how the classroom operates is particularly relevant in fashion, where pedagogy often assumes prior cultural capital.
Beyond access, retention remains a challenge for underrepresented students in art and design. Billingham (2012) notes that students from WP backgrounds are more likely to leave without targeted academic and emotional support. Higson (2007) argues that culturally responsive learning, personal academic tutoring, and validation of student identities are essential in building confidence and belonging. In fashion, where identity, storytelling, and personal expression are core to learning, inclusive pedagogy must centre and validate every student’s narrative. This intervention does just that—by scaffolding transition, recognising difference, and embedding inclusive practices at multiple points in the student journey.
Reflection
The idea for this intervention began when I transitioned from WP into my current role leading Knowledge Exchange in Fashion. I had long observed the disconnection between access initiatives and retention strategies, and this intervention offered a way to bridge that gap. Conversations with colleagues in FE, fashion tutors, pathway leaders, and WP students shaped the intervention and affirmed its value. Feedback has been overwhelmingly positive.
I was invited by the Head of Fashion at New City College—where the pilot will run—to support with project design and deepen understanding of CSM pedagogy. I also piloted sessions with a colleague at her former FE college in the North, running two online 1:1 tutorials that were well received. CSM students from WP backgrounds told me how useful such support would have been before they enrolled, especially in understanding briefs and adjusting to the academic culture. Tutors also expressed interest in running similar sessions at their former FE colleges across the UK. Discussions with the Head of Recruitment and Admissions at CSM revealed potential for funding to expand the model. These conversations reaffirmed the need for both outreach and in-reach to be reimagined as a continuous, collaborative process.
Action
This intervention is designed to prepare WP students for the academic rigour of fashion education at CSM and beyond, while also supporting their progression once enrolled. By introducing them early to HE-level pedagogy, it enhances confidence, understanding, and belonging—factors known to improve retention. For students entering via contextual admissions, it bridges the gap between diverse educational backgrounds and high expectations at elite institutions.
In my Knowledge Exchange role, this work will inform future curriculum design by embedding inclusive principles and expanding partnerships with grassroots organisations, FE colleges, and the fashion industry. It will also support FE tutors, providing insight into HE-level expectations and building their capacity to prepare students. The model is scalable nationally, through online delivery and Pan-UK collaborations, while maintaining a 2-way ethos of mutual learning. It could also open pathways to industry through sponsorships, scholarships, and project collaborations. WP students may become ambassadors, sharing their stories to inspire and support others—creating a self-sustaining, inclusive learning ecosystem that spans education and industry.
Evaluation
This process has reinforced the importance of designing interventions that respond to the lived experiences of WP students. While I have long understood the challenges they face, this project deepened my understanding—particularly through conversations with FE students, UG students, and colleagues. Their feedback shaped both the structure and delivery of the intervention.
One significant realisation was how the current Insights outreach model—based increasingly on postcode eligibility—risks missing those in greatest need. In recent years, I’ve noticed a rise in middle-class students accessing WP programmes, while students from lower-income households struggle with the academic and emotional demands of HE. This intervention seeks to rebalance this by aligning FE teaching more closely with HE expectations and ensuring marginalised students are not left behind.
Crucially, I’ve learned the importance of challenging deficit assumptions—not just among students, but among staff. Some FE tutors doubted their students’ ability to access CSM, and some HE staff hold low expectations of WP students. By building confidence among both groups, the intervention addresses these perceptions. Once implemented, success can be measured through improved retention, student engagement, and progression data—offering a more nuanced understanding of inclusion in creative education.
Conclusion
This process has reaffirmed the importance of embedding inclusive practices across the entire fashion education pipeline—from FE to HE and into the industry. Conversations with students and staff at all levels revealed a strong desire for change, but also a need for more structural support to enable it. As Bhagat and O’Neill (2011) argue, true inclusion means transforming how we teach and who we centre in our pedagogies. It is not only about access but about meaningful participation, belonging, and success.
Designing this intervention has helped me reflect on my own positionality as an educator, parent, and practitioner. It also reminds me that, decades after I first volunteered in a Hackney school, the structural barriers remain. But we are where we are—and through initiatives like this, change is possible.
Fashion is a discipline built on identity, culture, and storytelling. If the sector is to reflect the diversity of talent that exists across the UK, it must begin with education. This intervention—rooted in lived experience, theory, and practice—offers a replicable model that not only supports WP students, but enriches creative education and industry. It is my hope that it will grow through partnerships, funding, and collective commitment to equity.
References (Harvard Style)
Bhagat, D. and O’Neill, P. (2011). Inclusive Pedagogies: Learning From Widening Participation Research in Art and Design Higher Education. London: CHEAD.
Billingham, S. (2012). Student Retention and Success: An Overview of UK and International Research. York: Higher Education Academy.
Higson, H. (2007). ‘Engagement and Belonging in Creative Arts Education’. Journal of Widening Participation and Lifelong Learning, 9(1), pp. 35–43.
McManus, J. (2009). Every Word Starts with ‘Dis’: The Impact of Class on Choice, Application and Admissions to Prestigious Higher Education Art and Design Courses. London: University of the Arts London.
Further Education Intervention: Outreach meets In-reach!
NB: The In-reach can only start once the FE students have gained a place on BA. (25/26 academic year will be working with FE students only, 26/27 full program)
Timeline: Year one: 25/26
Date
Content
Action
IRL: Online: Venue
Week of 14th July TBC
BY to Visit FE college – New City College- Discuss and support on project design and curiculum for next academic year with tutor – Jody Roberts
FE college tutor – Jody – to write project and share with BY in August
For future developments this could be online – PAN UK
Week of Sept. 1stTBC
@New City College – BY and Jody to Launch 1st project– talk about What is Fashion @CSM and more broadly the industry!
Talk to CSM Fashion staff – who is available and willing to do a talk to the FE students from New City College.
For future developments this could be online – PAN UK
Week of 6th Oct.TBC
Tutorials – only for students who are interested in HEI
BY to feedback to JR
For future developments this could be online – PAN UK
Week of 12th Dec.TBC
Critique of 1st project
BY & JR to evaluate 1st project and student responses.
For future developments this could be online – PAN UK
Week of Jan. 5thTBC
BY and JR Launch 2nd project @ NCC
For future developments this could be online – PAN UK
Week of 12th Jan.TBC
Students visit CSM talk by head of courses and a student ambassador.
BY organise CLs / PWLs to do presentations – “What is Fashion @ CSM “
For future developments this could be online – PAN UK
Week of 26th Jan/ 1st week Feb (depending when UG interviews dates)TBC
BY to look at portfolios of students applying to CSM
Feedback to JR
For future developments this could be online – PAN UK
Time line: Year two: 26/27
Date
Content
Action
IRL: Online: Venue
Last week of summer term – admin week26/27TBC
BY to Visit FE college – New City College- Discuss projects for next academic year with tutor – Jody
FE college tutor – Jody – to write project and share with BY in August
For future developments this could be online – PAN UK
1st Week of FE Autumn term26/27TBC
@New City College – BY and Jody to Launch 1st project– talk about What is Fashion @CSM and more broadly the industry!
Talk to CSM Fashion staff – who is available and willing to do a talk to the FE students from New City College
For future developments this could be online – PAN UK
4th week of term26/27TBC
Tutorials – only for students who are interested in HEI
For future developments this could be online – PAN UK
4th week of termTBC
IN- REACH BY 121 tutorials
1st week of Spring Term 26/27TBC
BY and JR Launch 2nd project @ NCC FE College
For future developments this could be online – PAN UK
2nd week of Spring Term 26/27TBC
Students visit CSM talk by head of courses
For future developments this could be online – PAN UK
3rd week of term TBC
IN-REACH 121 tutorials
Week of 26th Jan / 1st week of Feb (depending on dates for UG when interviews)TBC
BY to look at portfolios of students applying to CSM
Last week of summer term
IN_REACH BY 121 tutorials
IN- REACH: BY to do 121 tutorials with 1st year UG at CSM from FE college who came through the intervention.
What is Fashion @ CSM; & how do you navigate the course!
Having worked in Outreach/Widening Participation (WP) for over 10 years before stepping into my current role leading Knowledge Exchange in Fashion at CSM, I’ve seen firsthand the challenges WP students face—not just with access and progression, but also with retention. Fashion at CSM is a rigorous course, and traditionally the cohort often includes students from quite affluent backgrounds, with plenty of cultural capital, confidence, and often prior exposure to the creative industries. For students from marginalised backgrounds, this can be intimidating and isolating, and many face barriers like imposter syndrome and difficulty navigating the academic culture. We need to do more than just offer a place—we need to prepare them properly and support them once they’re here!
This intervention I’m developing is all about supporting WP students through both access and progression, Insights into the Fashion Courses and Pathways, but also making sure they are supported once on the course. My work will be focused in Further Education colleges, vocational BTEC courses ( not the perceived golden route of studying A Levels ). I intend to run a pilot in two Further Education colleges—New City College in London (in person) and Carmel College in the North East (online). Both colleges have strong Fashion BTEC programmes and we already have CSM students from both, so there’s a real connection, and I have spoken to them about the intervention.
The intervention includes an initial session where I introduce the Fashion course at CSM—giving insight into the curriculum, teaching style, and expectations. I’ll work with FE tutors to help tailor student project briefs, and they’ll help identify potential applicants (while I stay mindful of not missing others who show potential). From there, I’ll run three one-to-one tutorials with selected students to support their portfolio and project work.
Once these students are at CSM, I want to continue supporting them with check-ins at the beginning, middle, and end of their first year. I’ll gather reflections and data on how the intervention helped them adjust and thrive. Peers are also keen to try similar work in their own regions—so this could grow.
In my specialist area of teaching Fashion Design, I’ve become increasingly aware of how faith intersects with students’ experiences—particularly for Muslim women. Kimberlé Crenshaw’s theory of intersectionality helps us understand that individuals don’t experience discrimination or privilege through a single lens (like race, gender, or religion), but through the overlapping of these identity categories. In the classroom, this means faith cannot be viewed in isolation from other social factors such as gender, ethnicity, and socioeconomic background.
From working in an Arts Community Centre in Tower Hamlets for over 15 years—a borough with a large Muslim population—I’ve seen firsthand how Muslim female students often face layered challenges. Some come from families where pursuing art and fashion is not traditionally encouraged, requiring conversations with parents to help bridge cultural and generational gaps. These students must not only navigate the expectations of their families but also the unconscious biases of peers and institutional structures.
One student recently expressed her ambition to intern at both a luxury and modest fashion brand. Her peers reacted with surprise, assuming she wasn’t “fashion enough” due to her visibly modest clothing. This moment revealed how cultural capital is often narrowly defined in Western fashion education. Crenshaw would point to this as an example of intraracial and intragender bias—where even within a shared racial or gender group, faith-based expression can result in marginalisation.
The resource “Islam, Women and Sport” by H. Jawad (2022) echoes these tensions, showing how Muslim women are often made hyper-visible through their dress yet simultaneously rendered invisible in institutional structures. This parallels my students’ experiences in fashion classrooms: they are seen as “other,” both visually and culturally. And like the athletes in Jawad’s article, they must continually justify their presence and ability in a field that doesn’t always make space for them.
University-wide data from UAL confirms the underrepresentation of Muslim students in art and design, particularly women. Yet I see so much potential and ambition in these students. During Ramadan, I observe how fasting affects their concentration and attendance—factors often misunderstood or overlooked by both staff and peers. In one of our recent PGCert sessions, several colleagues weren’t even aware of the location or condition of our prayer rooms. Muslim students have told me these spaces are shared with male students and lack privacy, creating discomfort in what should be a protected space.
Crenshaw’s framework encourages us to critically examine how systems of power—be it gender norms in fashion, institutional neglect, or peer stereotyping—compound to create barriers. It also encourages action: in my teaching, I advocate for inclusive curriculum design, including modest fashion as a valid and creative field. I connect students with role models and internship opportunities in both mainstream and modest fashion brands. I also push for awareness training among staff and students to challenge assumptions and promote allyship.
Ultimately, we must ensure that our classrooms are not just diverse, but genuinely inclusive—spaces where students of all faiths can see themselves reflected, respected, and represented.Where I can I ask our Muslim students to do open days and any talks we might be doing for perspective students, I also make sure wea re highlighting them for scholarship opportunities.
References (Harvard Style)
Crenshaw, K. (1989) ‘Demarginalizing the intersection of race and sex: a Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167.
Crenshaw, K. (1991) ‘Mapping the margins: Intersectionality, identity politics, and violence against women of color’, Stanford Law Review, 43(6), pp. 1241–1299.
Gilliat-Ray, S. (2005) ‘“Sacralising” sacred space in public institutions: A case study of the prayer space at the Millennium Dome’, Culture and Religion, 6(3), pp. 287–308.
Jawad, H. (2022) Islam, Women and Sport. London: I.B. Tauris.
Reading Oliver’s (1990) paper on the social model of disability really made me reflect on my teaching environment in fashion. He argues that people aren’t disabled by their impairments, but by the barriers that society creates. This really stuck with me when I started thinking about the physical space in our studios. In fashion, we talk a lot about inclusive design and ergonomics, but our actual teaching spaces don’t always match up. Pattern-cutting tables are tightly packed—if you’re in a wheelchair or just have a larger body, you might not even be able to use them properly. That kind of exclusion is built into the system, even if it’s unintentional.
The dashboards we have at UAL are helpful in some ways—they show us data on awarding gaps—but they’re also quite surface-level. For example, we don’t get breakdowns of what kinds of disabilities students have, or how those might intersect with other aspects of their identity like race, gender, or class. I think this lack of detailed data makes it really hard to make meaningful change. Crenshaw’s (1990) theory of intersectionality helps here—she shows how people who sit at the intersection of multiple identities can face layered discrimination. A disabled student who’s also a person of colour, or from a working-class background, might experience exclusion in ways that aren’t visible if we only look at one category at a time.
One of the most powerful things I watched for this unit was Ade Adepitan talking about disability and public space. He said that when you design something that works for a disabled person, you end up creating something that works better for everyone. That really hit home. In our group discussion, a technician mentioned that one of the new technical buildings has no space for wheelchair access in the metalworking area—so again, we’re designing for the “ideal” student, and not making room for everyone else.
At the moment, I don’t know how many physically disabled students we actually have at UAL, and I think that’s part of the problem. If we’re serious about inclusivity, we need to ask harder questions—not just how do we support the students we have, but how do we recruit more disabled students in the first place? What messages are we sending through our environments and recruitment materials?
This unit is really pushing me to look critically at my own assumptions and the structures I’m part of. It’s not just about having accessible toilets and lifts—though those matter—it’s about embedding inclusivity into every layer of design and delivery. There’s a lot of work to do, but the first step is actually seeing the barriers we’ve created.
References Crenshaw, K. (1990) Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color. Stanford Law Review, 43(6), pp.1241–1299. Oliver, M. (1990) The Individual and Social Models of Disability. Available at: https://disability-studies.leeds.ac.uk/wp-content/uploads/sites/40/library/Oliver-in-soc-dis.pdf Kendi, I.X. (2019) How to Be an Antiracist. London: Bodley Head. Brown, B. (2022) Atlas of the Heart: Mapping Meaningful Connection and the Language of Human Experience. London: Ebury Press.
Size of student group: available to approx 400 students
Observer: Berni Yates
Observee: Grace O’Driscoll
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.
Part One Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session within the curriculum?
I have been working towards making library sessions more embedded with units on Camberwell Fine Art courses. As the cohorts are so large there have not been library sessions in-course for some years which leaves the students under-supported in how to conduct basic academic research, how to reference, and how to use the library efficiently – which drives a very high (unsustainable) number of 1:1 support requests. I have now recorded these asynchronous sessions for unit Moodle pages to combine with very short introductory time slots in the cohort weekly meetings.
How long have you been working with this group and in what capacity?
I have not seen these groups, and they have had no other library teaching, since their Year 1 week 1 Welcome Week induction. I will produce a similar but slightly more advanced set of video resources for unit 8 in Year 2 and again for unit 9.2 in year 3 – and will see them all once in person at one of their their weekly meetings hopefully again one time for each of these units to introduce, explain and take questions around the video resources.
What are the intended or expected learning outcomes?
The intended learning outcomes:
Students are confident to use the library either in person or online or both and know how to ask for help if needed.
Students are empowered to undertake basic image and text research using keywords / search terms and can develop a list of target terms to research.
Students understand the limitations and pathways entailed in using the UAL library search pages.
Students are equipped with some good start points for their research including recommended bibliographies, confidence on when and how to approach their Academic Support Librarian for help.
What are the anticipated outputs (anything students will make/do)?
Students will use the library resources to support their Unit 7 essay research and referencing.
Are there potential difficulties or specific areas of concern?
The main concern is that students won’t watch the videos in full or will dismiss the need for library-based research and rely on Google, which negatively affects attainment potential.
How will students be informed of the observation/review?
As these are asynchronous resources there are no students present in real time.
What would you particularly like feedback on?
The level of engagement – these skills can seem quite ‘dry’ compared to a lot of UAL teaching but get consistently very positive feedback in terms of usefulness in 1:1 sessions, it’s information students really need to get their best written work done – and is also useful for visual and practice research.
The level of detail – I will have the opportunity to edit the video tutorials and I will also be creating a new set for unit 8 and so it would be great to hear where it seems repetitive or over / under detailed.
How will feedback be exchanged?
Through the ROT form and email.
Part Two
Observer to note down observations, suggestions and questions:
Grace O’Driscoll’s recorded library presentation is an extremely valuable and clearly delivered resource for Camberwell students. The information is well-structured, practical, and accessible, particularly for students who may feel overwhelmed or unfamiliar with using the library effectively. Grace’s tone is warm and approachable, which helps to engage students in what might otherwise feel like a dry or administrative topic.
The presentation clearly outlines key services, such as opening hours, cross-college access, and the ability to request books from other UAL libraries for delivery to Camberwell. These are essential points that students may not be aware of, and presenting them clearly supports wider and more confident use of library services. The explanation of the self-service options is another highlight – it’s helpful, empowering, and encourages independence.
A particularly useful part of the session is the emphasis on the breadth and quality of Camberwell’s library collection. Grace’s encouragement to explore beyond just essay-related materials, and to engage with the library for visual and practice-based research, is an important message for Fine Art students. Her suggestion of using a device to help navigate the library and manage the large volume of resources is also a great tip – very relevant and supportive for students new to academic libraries.
In terms of engagement and detail, the session feels well-paced and appropriately detailed. The information is specific without being overwhelming. While the content is clear and direct, there may be opportunities to break the video into shorter sections in future iterations to make it easier for students to return to key points.
Overall, this is a highly effective presentation. It offers both a welcoming introduction and genuinely practical support for students at Camberwell and across UAL. It successfully demystifies the library and positions it as an essential, exciting, and approachable space.
Well done Grace – and thanks for sharing – I have actually learnt so much ! This will help me too !!
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
Session/artefact to be observed/reviewed: 1st unit 8 tutorial
Size of student group: 1 student 121Observer: Grace O’Driscoll
Observee: Berni yates
Part One What is the context of this session/artefact within the curriculum?
This is the first Unit 8 tutorial – talking to students about what they need to work on for Unit 8
How long have you been working with this group and in what capacity? 1st time
What are the intended or expected learning outcomes? So the student understands about placement year out and what they need to create to apply for work experience
What are the anticipated outputs (anything students will make/do)? This session is juts about information about what is needed for Unit 8 deadline in May – there will be a follow up where student will go through work
Are there potential difficulties or specific areas of concern? Making sure each student has unique assets to apply to individual brands and work placements
How will students be informed of the observation/review? The session is recorded
What would you particularly like feedback on? Support on if the session was clear as to what the outputs should be and why each student should take a year out
How will feedback be exchanged? Through the recording then on final assessment sheet
Part Two
Observer to note down observations, suggestions and questions:
I observed Berni’s one to one tutorial with a CSM Fashion Print student working towards their Unit 8 brief and work placement applications. Berni’s stated aims for the session – to encourage students to undertake a year out placement, and to ensure the student has clarity around the expectations of unit 8 were clear from the outset and in the course of the tutorial Berni bookended sections of the conversation with reference to unit 8 marking and to next steps in the applications process to emphasise this. In addition to these outcomes based aims I was really impressed with the level of guidance offered to the student, and how well they were being set up for success. It was also very clear how well Berni had prepared with detailed knowledge of the student’s own personal skill-base, for example languages spoken and involvement in community projects, past work, that might be advantageous in applications.
Berni’s framing and input was very constructive throughout – with lots of the guidance phrased alongside acknowledgement of the student’s own agency and achievements. For example, talking through options for setting up a website or Instagram portfolio was framed with ‘you are good with digital so you will be fine with that’, discussing work placements in Europe focused on the students fluency in Italian, and the student’s ideas and ambitions were met with positivity that they had already put thought and planning into their options. Similarly, the student’s agency within the process was very much centred with phrases such as ‘I’d like to hear about what you’re thinking’, ‘which project do you feel is your strongest’, ‘it’s down to you, it’s your work’. Both of these elements made it very clear that the student is their own advocate but with clear guidance on how to succeed with what they want to achieve.
There were some very inclusive elements in the tutorial, particularly the clarity given around unit 8 marking, with no assumptions around what to include or unspoken expectations – at several stages Berni stopped the conversation to flag elements needed to attain good marks for the unit in comparison to what might be adjusted for individual employer approaches. I also felt that the discussion around earning expectations while on placement was very inclusive – there was again no assumption or unspoken expectations of circumstances. Both the possibility of paid placements and unpaid were discussed equally, alongside any necessary conditions should unpaid be considered, allowing the student to be open about where they might have access to accommodation support for example. Being open about this at the outset and discussing it with realism means the student will not be put in a difficult position further along in the process as they know they can speak to Berni about any limitations candidly. Similarly phrasing the opening of the conversation about work placements ‘locally and globally’ was an inclusive approach acknowledging the full breadth of what might be available to the student to consider.
One thing that I felt would have helped were some examples of elements that might have been new to the student – while these were explained very clearly some quick visual reference points might have broken down some barriers for the student, for example some CVs, some edited portfolio decks, a website or Instagram portfolio. Students really appreciate anything that is shared from past student’s work and experiences.
Towards the end of the tutorial Berni recapped on the next steps and on the expectations for what needs to be done before the next tutorial and what can be reviewed at that point for completion afterwards. This was very helpful and made the tasks in hand less daunting. Aspects of the task were given very clear tangible guidelines for example to choose 6 image pages per ‘deck’ and to create combined portfolio pages for some of these, showing process and output. This level of clarity and instruction was very tangible and again set the student up for success, moreso than descriptive feedback that would need to be interpreted. Berni questioned to ensure that all of this was clear and understood before closing the tutoral.
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
Thank you for the thoughtful and constructive feedback. I’m pleased that the clarity around Unit 8 expectations and marking criteria came across, and that the student-centred and inclusive nature of the tutorial was evident. I really appreciate your comments on how I acknowledged the student’s skills and agency throughout, as it’s important to me that students feel ownership over their work and confident in their decisions.
I completely agree with your suggestion to bring in examples of portfolio websites, CVs, and edited decks. I can see how this would offer students a clearer sense of what’s possible and how they might present their work creatively while still meeting requirements. I will make a point of gathering a small range of past student examples to share in future tutorials—not as templates to copy, but as inspiration to show the diversity of approaches and the importance of effectively communicating both personality and professionalism.
I also found your feedback on the inclusive discussion around placement logistics, including paid/unpaid options and living arrangements, to be affirming. I’ll continue to prioritise transparency and realistic planning in this area to help students navigate these choices confidently.
Thanks again—this was incredibly helpful in refining how I structure these tutorials and provide tangible support.
Session/artefact to be observed/reviewed: MA Fashion Design project brief
Size of student group: 56
Observer: Dr Frederico Matos
Observee: Berni yates
Part One What is the context of this session/artefact within the curriculum?
This is a project brief for a collaborative project with practitioners from Ghana and UK weavers. It also works across the M school more broadly with BA Textiles Weave 2nd years.
How long have you been working with this group and in what capacity?
I haven’t worked with MA Fashion before – but have been planning the project for around 1.5 years
What are the intended or expected learning outcomes?
Ability to demonstrate a synthesis of in-depth creative research, using analytical and reflective methods to source and gather knowledge(s) informing design and production processes.
Ability to undertake critical analysis to inform design development that recognises ethical awareness of individual and collective responsibilities and aspirations for contemporary fashion, broader diverse socio-cultural systems, and planetary justice and communicate this successfully through project work
Ability to identify and develop design ideas within chosen specialism, that defines and articulates opportunities for sustainable and regenerative design propositions and outcomes
What are the anticipated outputs (anything students will make/do)?
I am not asking for anything definitive, it is more holistic learning, storytelling, so outputs can be garments, fabrics, performance, video documentary on process. They can work in groups or as individuals, I am encouraging working groups!
Are there potential difficulties or specific areas of concern?
This is the first time we have done anything like this, offsite for two weeks with multiple partners. Managing partners expectations. Making sure students understand the process and context of the project, so they feel confident enough to work in a new environment. Be mindful of working inclusively and ethically with visiting partitioners from Ghana. A balance of knowledge transfer. Online talks – Wi-Fi issues in Global South for first week of talks.
How will students be informed of the observation/review?
N/A
What would you particularly like feedback on?
Communications, explanation to students about the context of the project – no particular outcome – so how to be clear on this.
How will feedback be exchanged?
Written feedback
Part Two
Observer to note down observations, suggestions and questions:
Berni, thank you for sending the Makers Camp Workshop Project Brief and press release. I was fascinated by the project, and how you bring together issues relating to sustainability, decolonisation, and collaboration, amongst others. Every aspect of this project is very well thought-out from the participants and collaborators to the sessions themselves, to the sourcing of materials. Further, you address issues of material innovation to address the climate emergency we all face and reconsider the concept of waste.
By aiming to connect students to emergent practitioners and alumni, you are creating and enabling paths for their (future) practice, and, at the same time, demonstrating through making how we need to redefine innovation in the fashion industry. By learning different ways of making, by using different materials, by upcycling, there are many opportunities for the students to learn, engage, and have a positive impact in the world.
The fact that the output is open-ended is very empowering for the participants, though possibly daunting too. I am sure that throughout the workshops and the collective making, students will become clearer about their own projects and what they want to achieve from this workshop project. Something to have in mind possibly, and to make explicit to the students at each stage.
In terms of communicating this project more explicitly to students you can perhaps establish clear links with the different units of the MA Fashion Design and make these explicit. It may also be helpful to have clearer learning outcomes for this project so as to provide a clearer structure for their own work. This needn’t be in contradiction with the open-ended nature of the work they produce. I think mainly, it is about being more explicit and systematic about the possibilities and expectations, in order to provide a framework for students’ work.
It is really impressive that you brought together so many participants, sponsors and funding strands to support this project and make it happen. This has required an impressive amount of time and dedication from you, and I am very confident that the students will find this experience invaluable. It is teachers like you that are transformational, that create threshold moments in the learning journeys of our students. This project has everything to be that.
Part Three
Dr. Frederic’s feedback helped me step back and see the bigger picture of what this project could be — not just in terms of materials and making, but in how it brings people together, navigates ethical collaboration, and explores deeper questions around sustainability and learning.
One thing I’m now focusing on is making the intent of the project clearer. It’s not just about working with waste — it’s about rethinking our relationship to materials, sourcing responsibly, and questioning where value lies. I want to explore both reclaimed materials and locally sourced options, like British wool, as ways of responding to the climate crisis in grounded, tangible ways. This really supports the learning outcome around developing a reflective and sustainable creative practice — where materials are part of the story, not just tools.
Working with practitioners from Ghana is also central, and Dr. Frederic’s reminder about working ethically and inclusively was really important. I want this to be a real dialogue — not extractive or tokenistic. That means slowing down, listening, and making sure that Ghanaian voices shape the direction of the project. It’s also about decolonising how we understand materials and sustainability — recognising that innovation doesn’t always mean “new,” and that traditional or indigenous practices hold valuable knowledge for facing modern climate challenges. This links directly to the outcome around positioning your practice in relation to global contexts and diverse cultural perspectives.
On the teaching side, I’ve been thinking more carefully about how to support students working in groups. I don’t want to just assign roles and walk away — I want to create a space where students can co-create, negotiate, and reflect together, especially when they’re dealing with themes like climate, waste, and place. These aren’t simple topics, so the group structure needs to make space for complexity, care, and curiosity. That feels really aligned with the open-ended, holistic outcomes of the camp — and it’s something I’ll continue to refine as the project evolves.
Finally, the theme of thinking globally and reacting locally feels even more relevant now. Whether it’s choosing British wool instead of synthetic imports, or highlighting regenerative practices from Ghana, I want this project to help students see how small material choices connect to big global systems — and how looking back can help us move forward.
Overall, the feedback has helped me shape this into something more intentional, more inclusive, and more aligned with the values that really matter in this kind of work.
Looking ahead, I see this project as the beginning of something much bigger. Over the next 3–5 years, I’d like to develop it into a broader exploration of making systems — particularly by building deeper connections with practitioners across the Global South. There’s so much knowledge embedded in these practices — systems that have often remained intact or resilient in the face of industrialisation, colonial disruption, and climate shifts. In contrast, many of these approaches have been lost or devalued in the UK, and I think there’s real potential in revisiting and reviving local making systems — like wool production, repair culture, or community-based craft — by learning from and alongside those who are keeping similar practices alive elsewhere. This revival isn’t about romanticising the past, but about reimagining what sustainable, place-based making could look like in a future defined by environmental and social challenges. It’s also about amplifying the voices of Global South designers and makers as leaders — not just participants — in shaping these conversations. Their perspectives are not only relevant; they’re essential.
As before, provide a brief background of the teaching context, highlighting a challenge (or opportunity) for assessing or exchanging feedback. For example, for the Theories, Policies and Practices unit a key challenge might be our reliance on the written word for assessing reflexivity.
I’m writing this piece based on assessing Unit 8, as I have found this quite problematic to assess along with other colleagues who have different opinions on what students should be preparing for Work Experience – placement. I asses across the programme so Fashion design and fashion communication, not only diverse and large courses in terms of outputs but also in terms of student diversity and individuality, for me its important to remain unique and have autonomy in your work.
I’m focusing on assessing Unit 8, which presents challenges due to differing staff expectations around work experience preparation. Teaching across Fashion Design and Communication, I navigate diverse student outputs and individuality. My aim is to uphold creative autonomy while ensuring fair, consistent, and meaningful assessment across varied student pathways.
Evaluation
To address the assessment challenges in Unit 8, I draw on both industry insight and cross-programme knowledge. Employers value the individuality and innovation in CSM students’ work, which pathway leaders foster. I promote alignment by encouraging open dialogue between Unit 8 and pathway staff, underpinned by scholarship on authentic assessment and creative pedagogy (Bloxham & Boyd, 2007). I’ve found that when assessors understand the context of creative development, feedback becomes more relevant and empowering. However, this approach needs institutional support to be sustainable. Greater integration of industry voices and clearer communication across teaching teams would further improve assessment coherence.
Moving forwards
Moving forward, I want to build stronger connections between Unit 8 tutors, pathway leaders, and industry expectations. Through conversations with colleagues and feedback from students, it’s become clear that the disconnect is impacting both assessment and the students’ experience. One key idea I’ve picked up from observing peers and reading around inclusive assessment practices is the importance of flexibility—offering multiple formats for presenting work can better support a diverse cohort. Not every student thrives under rigid guidelines, and we should recognise individuality as a strength, not a challenge.
Inspired by approaches like differentiated assessment and authentic learning (e.g., Jessop et al., 2014), I’ve started gathering feedback from students about how they found the Unit 8 process, particularly the marking. I plan to present this in a deck to share with Unit 8 tutors, highlighting the need for more openness in how students can present their work. I also think it’s essential we bring in more regular dialogue between Unit 8 and pathway teams, so there’s a clearer understanding of what’s being taught in terms of professional practice—especially around portfolios, websites, and industry expectations.
One strategy I’ve seen work well in other teams is co-assessment or moderation discussions, where staff mark together or at least compare feedback. I’d like to explore piloting something like this, even informally, to help align expectations. I also think involving students in assessment conversations earlier on—perhaps through formative feedback sessions—could help manage expectations and reduce the stress around this unit.
A limitation has been time—coordinating across busy teams is not easy—but the conversations I’ve had so far have been really productive. This process has reminded me that good teaching is collaborative and responsive. Going forward, I’ll continue to gather feedback, keep advocating for creative autonomy, and use student and industry voices to inform and improve our practice.
When I worked for Insights – Widening Participation @CSM I designed and lead the Access and Progression programs for Fashion Textiles and Jewellery. In 2021 we decided to run a combined summer school for BA Fine Art and BA Fashion students, as historically we found applicants were unsure about which course to pursue. The main issues were around staff from both disciplines working together, which hadn’t happened before and that some students wanted to only study Fine Art or Fashion. The cohort were from diverse marginalised communities, with varied expectations and experience, some staff had little experience working with WP (widening participation) students.
Evaluation
The summer school was carefully planned with input from multiple staff, though some were HPLs, making coordination challenging. I ensured that staff unfamiliar with widening participation (WP) students were supported, sharing previous experiences and managing expectations. Safeguarding policies were implemented with care to balance safety and confidence for the learning and teaching for tutors. We developed a diagnostic programme for both Fine Art and Fashion, offering deep insights into each course. UG student ambassadors shared their work and teaching experiences, providing peer support. Rigorous planning included reviewing evaluations from past summer schools, focusing on supporting students and reducing course swaps post-enrolment.
Moving forwards
Moving forward, there are several strategies and practices that I have encountered through reading, observation of peers, and personal experience that could be beneficial for my future teaching. One approach I found particularly effective during the summer school was the flexibility in the schedule and the use of icebreakers. While we had planned the projects and schemes of work, there were times when the ability to adapt to the needs of the group was crucial. The icebreakers allowed students to connect with one another and gave us valuable insights into their skills and personalities early on. This helped shape how we approached the rest of the programme.
In terms of group dynamics, splitting students into smaller groups worked well for skill-based workshops, and rotating the groups throughout the week allowed for a more balanced and diverse collaborative environment. Moving forward, I plan to implement more dynamic group arrangements, continually assessing the interpersonal chemistry among students and staff. Reflecting on the day’s activities and holding brief check-ins with staff at the beginning of each day also provided an opportunity for us to align our teaching approaches and address any concerns promptly. This practice was valuable, especially given that many staff had not worked with marginalised students before. I will continue to prioritise these reflections, as they contribute significantly to maintaining a cohesive and supportive team, time and resources permitting this will not be every day, but its important to communicate between colleagues.
The emphasis on letting students explore and learn from mistakes while allowing their work to evolve naturally was another important takeaway. Staff found it challenging to step back and allow the project to unfold without imposing high expectations for finished outcomes. Moving forward, I intend to foster a more process-oriented approach to teaching, where the journey of exploration, experimentation, and growth is equally valued as the final product. Encouraging tutors to embrace this mindset will be essential in creating a more relaxed and supportive environment for creative freedom.
Lastly, time and resources permitting I plan to continue with 1:1s for students unsure of their direction. Providing personalised support will allow for deeper engagement and help guide their decisions without imposing pressure. These strategies will help refine my approach, ensuring that students’ learning experiences remain the focus and allowing both staff and students to grow through the process.
This project has really helped with the new collaborative unit we are now planning for BA Fashion.
