Ethical Action Plan and supporting documents

Posted on 7th January 2026 by byates

In-Reach supports Out-reach:  Bridging the Attainment Gap for underrepresented students in Fashion Higher Education

Name: Berni Yates

Tutor: r.marsden@arts.ac.uk

Date: 02.10.25

In-Reach supports Out-reach:  
Bridging the Attainment Gap for underrepresented students in Fashion Higher Education

Project Focus: This project is based on the idea I worked on for my Intervention last term: It stems directly from my own professional journey. I spent over a decade working in Outreach and Widening Participation (WP) before moving into my current role as Knowledge Exchange Lead in Fashion at Central Saint Martins (CSM). Through this, I’ve seen first-hand the challenges that WP students face—not just in gaining access to higher education, but in adjusting and staying once they get there.
Fashion at CSM is a high-pressure, competitive environment where many students arrive with cultural capital, confidence, and familiarity with creative institutions. For those from marginalised or working-class backgrounds, this can feel daunting and isolating. Imposter syndrome, academic culture shock, and a lack of visible representation are just some of the barriers WP students face.
This Action Research Project grew out of my own reflections and conversations with students, FE tutors, and CSM colleagues. While we’ve made good progress in widening access, retention and progression support often sit separately. I want to connect the dots between access and belonging—ensuring that support doesn’t end when students arrive, but continues in meaningful, targeted ways.
My intervention focuses on students studying vocational Fashion BTECs in Further Education—an often-overlooked route into HE. I’ll pilot the project with two FE college: New City College in London (in person) and Carmel College in the Northeast (online), both of which already have WP students progressing into CSM.
I am also interested in any differences between inner London College and an FE college outside of London, hence looking at these two colleges.
The first phase of the intervention includes group sessions introducing the Fashion course at CSM—offering insight into curriculum, expectations, and creative process. I’ll work collaboratively with FE tutors to align their project briefs with HE-level thinking and run three one-to-one tutorials to support student portfolios and confidence.
I will visit New City College in person – but will do an online talk at Carmel College  
The second phase is “Inreach”—ongoing academic and emotional support for those same students once they’re on course at CSM.
I’ll check in at three key points in their first year (start, mid-point, and end), while also gathering reflections on how the intervention helped them transition and settle in. The long-term goal is to create a scalable, sustainable model that bridges the gap between FE and HE, making fashion education more transparent, inclusive, and genuinely supportive for all students, also looking at recruitment outside of London, PAN UK.  
This is my overall intervention plan, for my AR I intend to interview 2 tutors, one from the London FE college and 1 from the PAN UK FE college. I will also interview 2 students, if possible 1 from the London FE college and 1 from the PAN UK college. I will ask the tutors from teg colleges if any students have progressed over the past 3 years and ask for suggested students to interview.
I cant do this work alone – as part of my intervention it is important to talk to my colleagues – other tutors on the program for their input and support, it is all about team work, working together to shape a better future for ALL !      

Resources & Research Plan To support the development of my Action Research project—focusing on strengthening the transition and belonging of vocational-route, working-class and racially minoritised students entering Fashion HE—I will work with a combination of literature relating to action research methodology, qualitative interviewing, data analysis, and inclusive pedagogy/WP in creative arts.
These sources will guide not only the design of my intervention but also my approach to interviewing tutors and students, ensuring that my methods remain ethical, coherent, and aligned with the core aims of my project.  
Workshop 3A really helped me understand why we are doing AR but more importantly how it can help with the development and design of our intervention. Reflection being paramount,
I was inspired by the simplicity of Corman’s (Corman (2013:1324) bullet-pointed analytic prompts. This will help me develop a similarly clear and systematic approach when analysing interview transcripts, especially as a new researcher. See below other methods I am analysing to support with the design of my AR:  
1. Action Research and Methodology • McNiff, J. (2017). Action Research: All You Need to Know.
This text provides a clear grounding in how to plan, document, and reflect within an action research cycle. It will help me maintain focus on the purpose of my intervention and ensure that iteration, reflection, and responsiveness remain central. • Kemmis, S. & McTaggart, R. (2005). Participatory Action Research.
Useful for understanding how action research can empower participants—important when working with underrepresented FE students whose voices are often marginalised. • BERA (2024). Ethical Guidelines for Educational Research.
I will use this to guide informed consent, safeguarding, and the ethical handling of interview data, particularly given the small student cohorts and potential sensitivities around class and identity.
2. Data Collection and Interviewing • Kvale, S. & Brinkmann, S. (2015). InterViews: Learning the Craft of Qualitative Research Interviewing.
A key resource for structuring semi-structured interviews. It will help ensure that my questions remain purposeful, open, and accessible supporting my intention not to “lose sight of the intervention” while keeping questions simple, relevant, and sensitive. • Kara, H. (2015). Creative Research Methods in the Social Sciences.
Kara’s discussion of qualitative data analysis and transparency (e.g., Odena 2013) offers strategies for explaining my analytic decisions clearly and replicably—particularly important given the small scale of my study. • Corman (2013:1324)
I was inspired by the simplicity of Corman’s bullet-pointed analytic prompts. This will help me develop a similarly clear and systematic approach when analysing interview transcripts, especially as a new researcher.
3. Qualitative Data Analysis • Braun, V. & Clarke, V. (2006). Using Thematic Analysis in Psychology.
I intend to use thematic analysis to identify patterns across tutor and student interviews. Their step-by-step framework offers a robust, accessible structure suited to small-scale action research. • Nicol & Macfarlane-Dick (2006). Formative Assessment and Self-Regulated Learning.
Their seven principles of effective feedback will inform both the design of my intervention (particularly the tutorial support element) and my analysis of tutor reflections on preparation for HE. • Evans, C. (2013). Making Sense of Assessment Feedback in Higher Education.
This helps me critically reflect on feedback cultures—useful when exploring how my intervention may support confidence, belonging, and self-efficacy for FE students.
4. Widening Participation, Inclusion, and Creative Education • Bhagat, D. & O’Neill, P. (2011). Inclusive Teaching in Art and Design.
Key to understanding how access, belonging, and pedagogic practices intersect in creative subjects. This will help frame the FE–HE transition in fashion as a pedagogical—not just administrative—challenge. • McManus, J. (2009). The Class Ceiling in Art and Design Education.
Provides context on classed disadvantage in art school admissions and transitions, supporting the rationale for focusing on vocational-route students. • NSEAD & the Warwick Commission Reports
These national documents offer wider sector data on inequality in arts education, helping situate my intervention within a broader UK landscape of underrepresentation.
Additional media and practitioner-informed sources To complement academic texts, I will also use podcasts and online resources such as:
• The Colour of Fashion and Widening Participation Podcast—to capture lived experience narratives.
• UAL’s Belonging Through Compassion blog—offering insight into current institutional belonging initiatives. These will support my reflexivity as a practitioner-researcher and help ensure that my interview questions resonate with both student experience and sector-wide concerns.

How these sources will shape my project Collectively, these texts and media sources will help me to: design interviews that are ethical, inclusive, and methodologically sound;remain aware of power dynamics (e.g., recipient feedback structures);develop transparent, replicable methods for analysing qualitative data;situate my work within existing research on access, transition, and belonging in creative HE;

IMPORTANT! keep my intervention focused, simple, and meaningful for FE students navigating the FE–HE bridge.    
All preparation — literature review, designing interview questions, arranging participants, and collecting FE project materials.
3rd–19th Dec: Data collection window → tutor interviews, student interviews, reflective notes.
20–31 Dec: Early thematic analysis + drafting findings for your January hand-in. To Do: Allocate diary time for reviewing literature on HE transitions, FE-to-HE alignment, and widening participation in creative arts.
Design and pilot my semi-structured interview questions (for FE tutors and progressed students).
Conduct four 1:1 interviews: two FE tutors (London + PAN UK) and two students who progressed into Fashion HE.
Collect supplementary data from FE tutors (e.g., any examples of student progression, relevant project briefs, or reflections).
Document each stage in reflective logs to ensure I stay aligned with the Action Research cycle.
My actions clearly map onto the classic Action Research spiral:
1. Identify / Refine the Problem Review literature on FE–HE transitions and WP barriers.Reflect on your previous intervention ideas and professional context.
2. Plan an Action Develop interview questions.Arrange interviews with FE tutors and progressed students.Plan how to co-write or align project briefs with FE tutors.
3. Take Action Conduct tutor and student interviews.Observe existing FE projects and discuss where alignment with HE pedagogy may help.Test small-scale collaborative actions (e.g., reviewing an FE brief).
4. Collect Data Interview transcripts.Notes from meetings with FE tutors.Any materials shared by FE tutors (briefs, reflections).
5. Analyse Data Identify themes around transition barriers, curriculum alignment, confidence, belonging, feedback cultures, etc.
6. Reflect and Modify Use findings to refine the next stage of the intervention (your “Inreach/Outreach” model).Record this in reflective blogs for your PGCERT.
Semi-structured interviews (two FE tutors, two HE students).( Interview questions  on blog)
Document analysis (FE project briefs, tutor notes).
Reflective journalling after each interview and meeting.
Why this method?
Semi-structured interviews suit action research because they allow depth, flexibility, and co-construction of understanding—important when asking tutors and students what they think will help.
Where My Data Will Come From Interviews with FE tutors → curriculum, needs, barriers, recommendations
Interviews with progressed students → lived experience of HE transition
Documentary data → FE project briefs, tutorial processes, progression notes
Reflective notes → your own reflections as practitioner-researcher
Existing institutional data (if accessible ethically) → student progression patterns: UAL dashboards: time permitting !
Optional Additional Method (If Time Allows)
A short questionnaire to widen insight (optional if interviews are sufficient).Student reflective prompts (e.g., “describe one moment when you feel confident in HE”).      
Who will be involved, and in what way?  (e.g. colleagues, students, local community…   X2 Current WP (Contextual Admissions) students who have progressed on to the CSM BA Fashion courses.
X2 Teacher from each FE college.( If I have time I will interview more – or just send the questionnaires for filling out )
I have asked the tutors from the FE colleges to recommend students to talk to – this can be over the past 3 years – as they will still be at CSM. One of the students is on DPS year, but I have managed to get a contact email.        
What are the health & safety concerns, and how will you prepare for them?

  I have an ongoing relationship with both of the FE colleges and have been in to do talks a few times both IRL and online. So the staff are aware of me. I have a DBS check, however I will only be in contact with a tutor in the FE college for this project – so it is not needed. The FE tutors have offered to also email their alumni to tell them about the research project.        
How will you manage and protect any physical and / or digital data you collect, including the data of people involved?
I will use a participant consent form and a Participant information sheet.
I will keep the identities anonymous of all participants and always ask for consent. Creating an information sheet about the project, Confidentiality assurance for all participants, data protection, allowing permission to use information.  ( this will be on my blog )
There will be details about the research so students and staff will feel reassured so the interviews will meet their expectations.            
How will you take ethics into account in your project for participants and / or yourself?

 All data will be anonymised, with identifying details removed to protect confidentiality, especially given the small FE–HE cohorts.
I will obtain informed consent from all participants, making clear the purpose of the research, their rights, and that they can withdraw at any point without consequence.
I will follow the BERA (2024) guidance by ensuring participants can review and approve any quotes used in my submission.
Because interviews may touch on sensitive issues (e.g., class, confidence, belonging, inequality), I will be prepared for emotional disclosures and will pause, redirect, or stop interviews if distress arises.
If students disclose wellbeing concerns, I will not intervene directly but will signpost to appropriate institutional support services.
I will be mindful of power dynamics, making interviews collaborative rather than evaluative—especially important when interviewing students and FE tutors as a university practitioner.
I will keep reflexive notes to monitor my own emotional labour and positionality, acknowledging that some topics may be emotionally demanding for me as a tutor.
All data will be stored securely on password-protected systems in line with institutional ethics and GDPR requirements.
The project will be kept proportionate and non-intrusive, ensuring interviews are scheduled sensitively and participation does not burden students or tutors.
I will keep a transparent record of decisions (audit trail) about what data I collect, how I analyse it, and how I interpret it, in line with ethical standards for trustworthy research.I will actively reflect on how my own positionality—shaped by my WP background, class background, and role at CSM—may influence what I notice, interpret, and prioritise. Institutional Ethics Culture UAL takes ethics very seriously, and I will fully follow internal processes even when the institutional approach feels overly cautious.
I recognise that this structure helps ensure participant protection, data security, and researcher accountability.                

 

Participant Consent Form: FE Tutor

Project Title:

In-Reach supports Out-reach: Bridging the gap for underrepresented students in Fashion Higher Education

You are being invited to take part in a research project.  Before you decide to take part it is important for you to understand why the research is being done and what it will involve.  Please take time to read the attached information sheet carefully and discuss it with others if you wish.  Ask if anything is unclear or if you would like more information.

  • I understand that I have given my consent to be interviewed about my thoughts on access and progression from FE to HE: pedagogy alignment.
  • I fully give my consent to take part.
  • I understand that I have given approval for my opinions to be included in the research outputs. Anything I say may be used in academic papers relating to the project, although these quotations will be anonymous.
  • I have read the information sheet about the research project, which I have been asked to take part in and have been given a copy of this information to keep. 
  • What is going to happen and why it is being done has been explained to me, and I have had the opportunity to discuss the details and ask questions. 
  • Having given this consent, I understand that I have the right to withdraw from the research programme at any time without disadvantage to myself and without having to give any reason.
  • I hereby fully and freely consent to participation in the study, which has been fully explained to me.
Participant’s name
(BLOCK CAPITALS):		     
    Participant’s signature:     Date: 
  Investigator’s name
(BLOCK CAPITALS):		   
  Investigator’s signature:     Date: 

Contact

Investigator: Berni Yates

Tel:07713503482 Email: b.yates@csm.arts.ac.uk

 

Participant Consent Form: CSM Fashion/ Textiles HE student

Project Title:

In-Reach supports Out-reach: Bridging the attainment gap  for underrepresented students in Fashion Higher Education

You are being invited to take part in a research project.  Before you decide to take part it is important for you to understand why the research is being done and what it will involve.  Please take time to read the attached information sheet carefully and discuss it with others if you wish.  Ask if anything is unclear or if you would like more information.

  • I understand that I have given my consent to be interviewed about my thoughts on progression from FE to HE Fashion education at CSM
  • I fully give my consent to take part.
  • I understand that I have given approval for my opinions to be included in the research outputs. Anything I say may be used in academic papers relating to the project, although these quotations will be anonymous.
  • I have read the information sheet about the research project, which I have been asked to take part in and have been given a copy of this information to keep. 
  • What is going to happen and why it is being done has been explained to me, and I have had the opportunity to discuss the details and ask questions. 
  • Having given this consent, I understand that I have the right to withdraw from the research programme at any time without disadvantage to myself and without having to give any reason.
  • I hereby fully and freely consent to participation in the study, which has been fully explained to me.
Participant’s name
(BLOCK CAPITALS):		     
    Participant’s signature:     Date: 
  Investigator’s name
(BLOCK CAPITALS):		   
  Investigator’s signature:     Date: 

Contact

Investigator: Berni Yates

Tel:07713503482 Email: b.yates@csm.arts.ac.uk

Participant Information Sheet

About this study

This study is part of my research on the PgCert Academic Practice in Art, Design and Communication at UAL.

I am conducting some research to help with an intervention I am designing

 “In-Reach supports Out-reach”: Bridging the attainment Gap for underrepresented students in Fashion Higher Education. I am interested in hearing from staff and students who are working in, or studied at Further education colleges, to hear and learn about experiences and reflections on learning and teaching in both Further education and Higher education.

My research will document, evaluate, reflect and analyse differences and barriers to Higher education from further education.

The methodology will be qualitative: taking a responsive evaluation approach.

This will consist of a bespoke questionnaire (no more than 6 questions) designed by me, which I will conduct with you, the tutors teaching on FE and students who progressed from FE and are now studying in HE. We will do this on a 121 basis in an informal setting.

Responses will be analysed thematically, and will go towards the designing of my intervention, which I can’t wait to talk to you about.

What does it mean to take part?

If you take part you are consenting to taking part in this research project, with a 121 meeting, which may take between 30 – 60 minutes (could be longer if you are interested to hear more about the intervention!) .

With your consent I would like to audio record the meeting as we talk through the questionaries, to make it easier for me to transcribe it and create the findings.

Data will be used as the basis for academic analysis.

If you choose to take part, you will be free to withdraw your participation at any point. You will not be obliged to give any reason for deciding not to take part.

I will share questions with you before we meet.

Will my participation be kept confidential?

Your anonymity is very important. The information about you will be confidential to me, as the researcher. You will not be identified individually anywhere in the research. If I quote anything you have said in an interview, it will be anonymous. An example might be: ‘Tutor A said ‘The project is…’.’

What will happen to the results of the research project?

Analysis from the questionnaire – including quotations from you – will contribute to an academic intervention that I am developing, which will be presented to university colleagues. Your words may also be used in academic reports, papers or conference presentations. These may appear online. Obviously, I will let you know if it does go further than just my initial presentation.

I would be delighted to have you involved in my research, your opinions would mean so much to me and really support this important work!

Thanks in advance for your contribution and participation in this study.

I look forward to talking with you and hearing your answers to the questions.

Contact for further information:

Name: Berni Yates

Email address: b.yates@csm.arts.ac.uk

Questionnaires:

Questions for FE Tutors:

  1. From your perspective, what are the biggest challenges your students face when transitioning from a vocational FE Fashion course into HE?
  • In what areas do you feel your students are least prepared for HE-level expectations, financial? Pedagogy? Independent learning?
  • What changes or additions to the FE curriculum do you think could better prepare students for HE studies in Fashion?
  • How could collaboration with university staff or students support your learners’ confidence or understanding of HE pedagogy? 121 visits, talks, students or tutors, more knowledge on courses?
  • What kinds of pre-BA sessions, resources, or experiences would you find most valuable for your students?

Is there anything you would like universities (such as CSM) to understand about vocational-route students and their strengths/needs?

Questionnaire for FE students progressed to HE

  1. What felt most challenging when you first arrived in, HE after your FE course?
  • Were there any aspects of the HE curriculum, projects that felt unfamiliar?  or teaching style that surprising or different to FE?
  • Did you experience any feelings of being “behind,” out of place, or unsure of what was expected? If so, can you give examples?
  • Do you know what Imposter syndrome is? At any point did you feel this? would you like to give examples?
  • What types of support (from FE or university) would have helped you feel more confident starting your BA?
  • Are there any skills, knowledge areas, or experiences you wish you had been introduced to earlier in FE, that might have helped you prepare for HE?
  • Do you feel there is a class divide or cultural divide within HE/CSM? If so, how does it affect you or your peers?

      8.a  As a student, do you feel there are spoken or unspoken expectations around how students should dress or present themselves within your course or in critiques?
Have you ever felt judged, supported, or misunderstood because of how you dress or present yourself?

      8b.  Do you feel your background, culture, or personal identity is recognised and valued within your design work and creative practice on the course?
For example, do you feel encouraged to draw from your own experiences, or have you ever felt pressure to adapt your work to fit certain expectations?

Time line fort ARP:

Final AR timeline sept – janDownload
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