As I discussed in my IP Unit Reflective Report, I designed an intervention to diversify and decolonise the technical and make reference materials used in the MA Fashion programme at Central Saint Martins (CSM). In my role as Senior Lecturer, Technical Studies Lead, I support students as they develop garment-making skills and navigate the technical aspects of their design practice. Working at the intersection of technical and academic teaching, creative practice, and university systems, I often reflect critically on both what we teach and how we teach it.
Rather than attempting to change the university system, I took responsibility as a practitioner-educator and asked myself what I could do to improve the student learning journey. I considered what would best support students’ creativity, reflect their cultural backgrounds, and foster innovation.
One issue I have observed is that students often feel compelled to design and construct garments in a particular way: a method (techniques) they perceive as “traditional” or “correct” because it is widely used in the Western fashion industry and promoted by many fashion schools. This perception can create anxiety, limit experimentation, and constrain the development of personal or culturally informed approaches to making.
Technical skills are often taught in a highly prescriptive manner. For example, tailored jackets are typically presented as requiring jet pockets with flaps, following a fixed sequence of steps. While effective, this approach leaves little room for exploration or consideration of different cultural practices and learning styles.
In response, I created the MA Making Padlet resource to combine traditional making resources (step-by-step guides), techniques as examples drawn from diverse cultures and photographs of current student work. Some of the techniques may not be widely recognised in professional contexts but offer alternative perspectives, encouraging students to see technical making as a space for creativity, experimentation, and cultural dialogue.
One practical example is the materials list. When I studied for my MA in Fashion Design in London, almost 20 years ago, the recommended suppliers were expensive, high-end shops and agents catering only to established designers. As a student, accessing these suppliers was daunting and restrictive. I revised the list to include agents, wholesalers, independent shops, market stalls, and vendors selling end-of-roll or deadstock materials. This approach broadens access and encourages students to explore materials creatively and sustainably.
I recognise that this intervention is a small step and not without limitations. However, through ongoing feedback (data collection), reflection, and iteration, I hope it supports students in engaging confidently with technical making, exploring their own ideas, and producing work that is innovative and personally meaningful, rather than simply following prescribed conventions. This project has reinforced for me the value of reflection as a practitioner-educator and the importance of making space for diversity, creativity, and cultural awareness in technical teaching.
The below are the examples of two traditional making resources: folders with sewing samples and fabric sample cards from European fabric agents and manufacturers. And the bottom photo shows stacks of old vogue magazine, the “only”, real source and Fashion reference.
