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.

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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.

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Library refresher

Research Skills,

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: 1^st 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? 1^st 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 2^nd 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. 

Contextual Background:

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.

References 

• Addison, N. and Burgess, L. (eds.) (2015) Debates in Art and Design Education. London: Routledge. Available at: https://www.taylorfrancis.com/books/edit/10.4324/9780429201714/debates-art-design-education-nicholas-addison-lesley-burgess.
• Davies, A. (n.d.) ‘Writing Learning Outcomes and Assessment Criteria in Art and Design’. Available at: https://arts.brighton.ac.uk/__data/assets/pdf_file/0003/67278/Writing-Learning-Outcomes-and-Assessment-Criteria-in-Art-and-Design.pdf.
• Education Scotland (2009) ‘Expressive Arts: Experiences and Outcomes’. Available at: https://education.gov.scot/media/ogyjyehk/expressive-arts-eo.pdf.
• Kennedy Center (n.d.) ‘Creative Conflict’. Available at: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/articles-and-how-tos/articles/educators/critique–feedback/creative-conflict/.
• Studential.com (n.d.) ‘Art and Design Personal Statement Examples’. Available at: https://www.studential.com/personal-statement-examples/art-and-design-personal-statement-examples.
• UCAS (n.d.) ‘Personal Statement Advice: Art and Design’. Available at: https://www.ucas.com/applying/applying-university/personal-statement-guides/personal-statement-advice-art-and-design.

Contextual Background 

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.

References 

• Arts Emergency. (2023) ‘Arts Emergency – mentoring for young creatives.’ Available at: https://en.wikipedia.org/wiki/Arts_Emergency (Accessed: 8 April 2025).
• City & Guilds Art School. (2023) ‘New gift to support access to Fine Art courses and widening participation.’ Available at: https://www.cityandguildsartschool.ac.uk/new-gift-to-support-access-to-fine-art-courses-and-widening-participation/ (Accessed: 8 April 2025).
• City & Guilds Art School. (2023) ‘Young People | City & Guilds | London Art School.’ Available at: https://www.cityandguildsartschool.ac.uk/youth-access/ (Accessed: 8 April 2025).
• Coventry University. (2021) ‘Coventry fashion designer aims to inspire next generation with COVID-19 art packs.’ Available at: https://www.coventry.ac.uk/news/2021/fashion-art-packs/ (Accessed: 8 April 2025).
• GSA. (2023) ‘GSA WAY IN V8 — On To Art School.’ Available at: https://wayintothegsa.co.uk/ontoartschool/ (Accessed: 8 April 2025).
• London College of Communication. (2023) ‘LCC re-launches ‘Insights’ programme to offer opportunities to potential students from widening participation backgrounds.’ Available at: https://www.arts.ac.uk/colleges/london-college-of-communication/stories/lcc-re-launches-insights-programme-to-offer-opportunities-to-potential-students-from-widening-participation-backgrounds (Accessed: 8 April 2025).
• Peckham Platform. (2023) ‘Peckham Platform.’ Available at: https://en.wikipedia.org/wiki/Peckham_Platform (Accessed: 8 April 2025).
• Slade School of Fine Art. (2023) ‘Breaking down barriers to a fine art education.’ Available at: https://www.ucl.ac.uk/slade/project/widening-participation/breaking-down-barriers-to-a-fine-art-education/ (Accessed: 8 April 2025).
• Way In. (2023) ‘GSA WAY IN V8 — On To Art School.’ Available at: https://wayintothegsa.co.uk/ontoartschool/ (Accessed: 8 April 2025).
• Why collaboration is so important in widening participation. (2023) ‘Why collaboration is so important in widening participation.’ Available at: https://aimhigherlondon.org.uk/why-collaboration-is-so-important-in-widening-participation (Accessed: 8 April 2025).

Contextual Background 

The Access and Progression Widening Participation autumn course at CSM supported students aiming for BA Fashion, Textiles, or Jewellery. Many juggled part-time work, caring duties, or lacked confidence. Some couldn’t study art and design subjects due to cultural or financial barriers, travel issues, or school restrictions. Others had limited support or access to material

Evaluation 

To meet student needs, I ran a carousel workshop with undergraduates from similar backgrounds so applicants could hear real experiences and make informed course choices. While students around meeting and talking the UGs (timed sessions)  I held 1:1 tutorials along with a colleague from LCF to understand each student’s background and needs, going beyond the portfolio to spot potential. I explained CSM/LCF’s unique teaching styles to help students find the best fit. Many students say these sessions opened their eyes to new pathways and built confidence. I use student and staff feedback and reflection to improve delivery, always encouraging experimentation and learning from mistakes. This approach respects individuality and is shaped by ongoing practice-based learning and listening.

Moving forwards 

Moving forward, I want to build on current strategies by drawing from peer observation, research, and my own experience as both teacher and learner. One effective approach is introducing students to relatable role models—undergraduates or postgraduates from similar backgrounds—who can act as mentors or visit schools and FE colleges. If students “see themselves” in others who’ve succeeded at CSM, it breaks down barriers and makes the idea of progression feel achievable. This is also informative and helpful for staff.

I also want to strengthen links between students and academic support staff and more broadly support networks. Clear signposting helps ensure students know where to go for help, and that I’m not the only person looking out for them. Team teaching and working closely with colleagues helps us all understand student needs better, particularly those whose portfolios may not fit traditional expectations but show potential through cultural heritage or creative thinking, we have to look beyond the obvious cultural capital. I’ve shared my approaches with the broader Fashion team through presentations, encouraging colleagues to visit FE colleges and engage with students early on, offering insights into CSM’s teaching style and how to support access and progression.

I plan to run more projects where students don’t need to buy materials. This is not only more inclusive financially, but also more sustainable. Group work will be structured to encourage mixing—students can learn so much from each other when we break down barriers and assumptions.

Flexibility is also key. I aim to be more aware of students observing Ramadan or juggling work and caring responsibilities. I’m always learning—when I don’t know enough about a student’s cultural background, and this might be part of their research/inspiration, I tell them I’ll go and research it before our next session.

Finally, I want to continue developing ways to include quieter, less confident  students in class discussions. Not everyone wants to speak up in a group, so it’s important to read the room and create space for all voices to be heard, whether that’s through writing, small groups, or creative alternatives.

References:

AHRC, 2020. Equality, Diversity and Inclusion in the Creative Economy. [online] Arts and Humanities Research Council. Available at: https://www.ukri.org/publications/equality-diversity-and-inclusion-in-the-creative-economy/ [Accessed 8 Apr. 2025].

Bird, L., 2020. Fashioning Inclusion: Decolonising the Curriculum in Art and Design Education. Journal of Art & Design Education, 39(3), pp.558–567. Available at: https://doi.org/10.1111/jade.12300.

Thomas, L. and Jones, R., 2017. Student engagement in the context of the UK Art and Design education sector: a literature review. Higher Education Academy. [online] Available at: https://www.advance-he.ac.uk/knowledge-hub/student-engagement-context-uk-art-and-design-education-sector [Accessed 8 Apr. 2025].

Universities UK, 2019. Closing the gap: Key recommendations to tackle the BAME attainment gap in higher education. [online] Available at: https://www.universitiesuk.ac.uk/what-we-do/policy-and-research/publications/closing-gap-final-report [Accessed 8 Apr. 2025].

Wilson, T., 2021. Widening Participation in Fashion Education: Listening to Student Voice. Art, Design & Communication in Higher Education, 20(2), pp.211–226. [Especially useful – based on real student experience in fashion and WP].

Responding to Nicholas Addisons, Doubting Learning Outcomes in Higher Education Contexts: from Performativity towards Emergence and negotiation.

This is a difficult one, as much as I believe we need learning outcomes for parity and learning and teaching and guidelines for some students, I also believe they should not be the benchmark for individual feedback.

In fashion education, creativity thrives when students are encouraged to explore, take risks, and develop their unique voice. While learning outcomes provide a necessary framework, they should never become a rigid checklist that limits innovation. Instead, educators must prioritise individual feedback, ensuring that each student’s learning experience is personal, meaningful, and reflective of their own creative journey.

Learning Outcomes: A Guide, Not a Limit

Fashion is an ever-evolving industry driven by originality, cultural shifts, and innovation. If we strictly adhere to predefined learning outcomes without questioning them, we risk creating uniformity rather than diversity in student work. Learning outcomes should serve as a guide rather than a restriction—helping students understand key skills and concepts while leaving room for individual exploration.

The challenge lies in balancing structure with flexibility. When designing projects, educators must look beyond learning outcomes to ensure that students are not just meeting criteria but also engaging in deeper creative inquiry. A forward-thinking fashion curriculum acknowledges that true progress happens when students challenge norms, redefine boundaries, and push their personal creative limits.

The Role of Individual Feedback

One of the most crucial elements in fashion education is tailored feedback. Generic, one-size-fits-all critiques do not serve students who are developing their distinct design identities. Individual feedback acknowledges each student’s unique strengths, areas for growth, and creative direction. It also fosters autonomy, allowing students to take ownership of their learning and decision-making.

Written feedback plays a key role in this process but must be delivered with intention. Too many words can overwhelm and dilute the message, while too few can leave students directionless. The ideal feedback is precise, insightful, and encourages reflection without dictating outcomes. It should act as a conversation rather than a directive—offering guidance while leaving room for interpretation and independent thinking.

Creativity Over Compliance

If we do not look beyond learning outcomes, we risk stifling creativity and producing students who conform rather than innovate. Fashion education must prioritise experimentation, conceptual thinking, and individuality over rigid assessment models. By focusing on the development of a student’s personal design language rather than just technical proficiency, we ensure that they are prepared to contribute something unique to the industry.

This approach also means rethinking how we assess students. Rather than measuring success solely by predefined learning outcomes, we should consider their ability to problem-solve, adapt, and express a clear creative vision. The emphasis should be on process as much as the final product—valuing the journey of discovery as much as the outcome itself.

Conclusion

In fashion education, we are not just teaching students to follow trends or replicate existing ideas; we are guiding them to become independent thinkers and designers. By prioritising individual feedback and embracing learning outcomes as flexible rather than prescriptive, we empower students to find their own voice while still acquiring essential skills. Education should not create sheep—it should cultivate visionaries who can shape the future of fashion with originality and confidence!

Doubting Learning Outcomes in Higher Education Contexts: from Performativity towards Emergence and negotiation

Nicholas Addisons.

The paper written by Karen Harris, Embracing the Silence: Introverted learning and the online classroom was another piece of writing that resinated with me personally and my learning and teaching practices. I have always struggled in a classroom situation where I am put on the spot or asked to talk about something out loud, I am much happier learning in a ‘quieter’ context, and once I have built confidence and knowledge might be happier talking out loud when appropriate. I have built much of my teaching practice with this in mind.

The fashion classroom is often a space filled with energy, discussion, and bold personalities. Many students thrive in this environment, eager to share their ideas and speak up. However, not all students engage in this way, and we must question whether traditional methods of participation truly serve all learners equally. As Karen Harris explores in Embracing the Silence: Introverted Learning and the Online Classroom, the assumption that vocal participation equates to engagement is flawed. Some of the most talented, thoughtful, and innovative students express themselves not through words but through their work.

The Myth of Loudness as Leadership

In fashion education, it is common to see certain students dominate discussions. These individuals often appear confident and articulate, and their voices fill the space. But does speaking the most mean having the best ideas? Not necessarily. Time and again, I have seen quieter students produce the most refined and innovative work. Their ‘noise’ does not come from speaking over others but from the strength of their designs.

By equating verbal contribution with engagement, we risk sidelining those who need time to process their thoughts before articulating them. Harris highlights that forcing students to speak before they are ready can create stress and inhibit learning. In fashion, where deep thought and reflection are key to developing strong creative ideas, we must acknowledge that not all students benefit from immediate verbal responses.

Embracing Silence as a Learning Tool

Rather than forcing participation in the traditional sense, we should rethink what engagement looks like. Silence is not disengagement—it can be a powerful space for processing, absorbing, and developing ideas.

One method I have found effective is one-on-one tutorials with quieter students. In smaller, more private settings, they feel more comfortable expressing their thoughts, and over time, this can build their confidence when speaking in groups. Rather than pressuring them to participate in the same way as their louder peers, we must create spaces where they can engage on their terms.

Another simple yet effective strategy is displaying work in a non-verbal way. Instead of relying on group discussions, I often ask students to leave their work on tables, allowing their peers to walk around, observe, and take in each piece. This removes the immediate pressure to verbally explain their work and allows for deeper, more thoughtful engagement.

The Power of Written Reflection

Written feedback can also be a powerful tool in embracing silence. Post-it note critiques allow students to leave constructive feedback on each other’s work without the pressure of speaking publicly. This encourages participation in a way that feels safe and thoughtful, giving quieter students the opportunity to express their perspectives without having to compete for attention. This does not have to be lots of words – juts short sentences – even just one word !

Rethinking Power and Participation

Harris challenges us to reconsider traditional notions of power in the classroom. In an online setting, where students can easily disappear behind a muted microphone, teachers have been forced to reconsider what engagement truly means. This same lesson applies to in-person teaching. Fashion education should not only reward the loudest voices but create space for the quieter ones to thrive.

Some of our most successful graduates and alumni working in the fashion industry were not the students who dominated classroom discussions. Their strength lay in their creativity, their ability to listen, observe, and refine their ideas. Their ‘voice’ was always present—it simply spoke through their work rather than their words. As educators, we must ensure that all students, regardless of how they choose to engage, have the opportunity to develop their full potential.

By embracing silence and developing more inclusive ways to listen, we create a richer, more diverse learning environment—one where every student, whether outspoken or reserved, has the space to contribute meaningfully. The future of fashion belongs not just to those who speak the loudest but to those who think the deepest.

However, there are some roles in fashion that need the loud voices, Fashion PR and marketing for example , Fashion journalism where the students have to be confident to interview people. You will often find that these students already have the confidence and ability to work in this way, which is why they apply to these courses, but we must be mindful of the students who are applying and possibly don’t have the tools yet to deliver. This brings me back to my experience of working in outreach for Widening participation, where marginalised young people don’t always have the cultural Capital, or confidence like the young people from more advantaged backgrounds ie:privately educated. So comes back to an inclusive education and participation for each and every student.

Spark: UAL Creative Teaching and Learning Journal

Karen Harris: Embracing the Silence: Introverted learning and the online classroom

I was drawn to reading the paper: On the spectrum within art and design academic practice:

As someone with dyslexia and ADHD, my journey through education has been shaped by constant tension between creativity and traditional academic expectations. Reading, writing, and structuring essays have always been struggles, but designing, problem-solving, and creating have been my strengths. The paper Art & Design and Neurological Difference highlights how neurodivergent students bring unique ways of thinking to creative fields—but also how current education systems often fail to accommodate these strengths.

Fashion design is an academic discipline, but not in the traditional sense. It requires research, critical thinking, and problem-solving, but these happen through sketchbooks, hands-on experimentation, and material manipulation rather than essays. Yet, the academic system still places heavy emphasis on written work, making it difficult for neurodivergent students to succeed in ways that reflect their actual abilities.

The paper discusses how many neurodivergent students develop workarounds—using visual thinking, hands-on approaches, and alternative methods to express their ideas. This resonates with my experience. I have always learned best through doing, whether it’s draping fabric on a stand or working through concepts in a sketchbook. These methods are not just “practical”—they are deeply intellectual and should be recognised as valid forms of academic engagement.

Despite this, many fashion courses still measure academic success through essays and written reflections, sidelining the ways in which neurodivergent students excel. The challenge is not that we lack academic ability but that the system defines “academic” too narrowly. The question should not be How can neurodivergent students fit into this system? but rather, How can education evolve to recognise diverse ways of thinking and learning?

One approach could be to shift the emphasis away from written work as the primary form of assessment. What if research-based sketchbooks, process videos, or verbal presentations carried the same academic weight as essays? What if critical thinking was evaluated through creative problem-solving rather than written analysis alone? These changes would not lower academic rigour but rather redefine it in a more inclusive way.

Neurodiversity is not a deficit—it is a different way of engaging with the world. Fashion education should embrace this by valuing alternative learning and assessment methods, ensuring that students are recognised for their intelligence and creativity, not just their ability to write.

In my previous role teaching in outreach, I would meet so many young people at secondary schools who really struggled with the writing aspect of A level Art and Design subjects, they were extremely creative but didn’t understand, and weren’t encouraged, to work with visual annotation rather than written annotation for their work.

By shifting how we define academic excellence in fashion and more broadly art and design we can create a more inclusive and supportive learning environment—one where neurodivergent students are not just accommodated but truly understood and valued, this should start lower down education.

Spark: UAL Creative Teaching and Learning Journal

On the spectrum within art and design academic practice

Luca M.Damiani