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].