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.