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.
Lewis, R. (2013) Modest Fashion: Styling Bodies, Mediating Faith. London: I.B. Tauris.
Said, E. (1978) Orientalism. New York: Pantheon.
Tarlo, E. (2010) Visibly Muslim: Fashion, Politics, Faith. Oxford: Berg.