Introduction
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. 1st TBC | @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. 5th TBC | 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 week 26/27 TBC | 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 term 26/27 TBC | @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 term 26/27 TBC | Tutorials – only for students who are interested in HEI | For future developments this could be online – PAN UK | |
| 4th week of term TBC | IN- REACH BY 121 tutorials | ||
| 1st week of Spring Term 26/27 TBC | BY and JR Launch 2nd project @ NCC FE College | For future developments this could be online – PAN UK | |
| 2nd week of Spring Term 26/27 TBC | 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. |
HE Term dates:
Sept 29th – 12th Dec 2025
12th Jan. – 20th March 2026
13th April – 19th June 2026
FE Term dates:
Sept 1 – December 19th 2025
Jan 5th – March 27th 2026
April 13th – July 23rd 2026
FE Half Term dates:
October 27th – 31st
Feb 16th – 20th
May 25th – 29th