IP Blog Task 3: Race 

Posted on 5th July 2025 by Maja Mehle

This blog post is more of a sketch, a collection of thoughts, than a coherent blog post. We are discussing race, and I have many thoughts on this. Some of these reflections go back to before I started the IP unit, while others have emerged more recently, shaped by the readings, videos, and discussions I’ve encountered during the course. 

I can’t believe that the UK Equality Act was passed only 15 years ago in 2010. 

The Channel 4 programme The School That Tried to End Racism, I’ve known about it for a while, but the video always moves me to tears. Why? Because it involves children, and it so clearly illustrates how unfair our society can be. It lays bare the deep connections between racism, inequality, and unequal opportunities. Many people don’t understand that having good grades and working hard is not enough, especially if you are not white. Not everyone is given the same chance. 

One reading that really surprised me was the article Is Race Still Relevant? Student perceptions and experiences of racism in higher education. It explores university students’ experiences and attitudes towards race and racism in England as of 2020 (ten years after the UK Equality Act). What stood out, both to me and the author, was the apparent lack of student engagement with racial equality issues. Was this indifference just a pre-Covid phenomenon or general apathy? I wonder how students would respond to the same questions today, in 2025. Or how would CSM students respond? 

Then there’s Orr’s video commentary for The Telegraph, The Charity Turning UK Universities Woke (2022). It was surreal, but not in a good way. A white man questioning a diverse group of individuals from Cambridge University about Advance HE, a charity encouraging universities to embrace diversity, equity, inclusion, and decolonisation. The tone was dismissive, framing “woke” as something to be criticised rather than understood and embraced. 

A thought: unconscious bias and diversity courses work for some people, but not for all. Often, they are very corporate and include more prejudice than inclusiveness. 

And this brings me to Sadiq and his TEDx talk Diversity, Equity & Inclusion: Learning How to Get It Right. 

There is a lot I like in this video. Some of the most memorable quotes or parts from it are: 

Regarding school and history classes: They give you a perspective. Not the whole perspective, not different views, not different takes. 

On being asked: What is the view of Muslims on something, being someone of faith? And I was like, Wow! You want me to give you a view of almost 2 billion people—me? How can I do that? 

Everyone is an individual. Everyone has a unique identity. (this supports Crenshaw theory on Intersectionality) 

And my favourite: Diversity is about bringing different perspectives, different lived experiences together, respecting our differences, and then working towards better goals. 

Lastly, the resource I would like to recommend is the Face Race Handbook for Educators. FACE stands for Fashion and the Arts Creating Equity. You can find a free copy here: 
https://www.weareface.uk/face-race-handbook. 

References: 

Crenshaw, K. Intersectionality, 1990. Accessed on 27 of April 2025 at https://moodle.arts.ac.uk/mod/folder/view.php?id=1386601 

Sadiq, A. (2023) Diversity, Equity & Inclusion. Learning how to get it right, TEDxCroydon, YouTube. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed: 05 July 2025). 

Orr, J. (2022) Revealed: The charity turning UK universities woke, The Telegraph, YouTube. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (Accessed: 05 July 2025). 

Heartbreaking Moment When Kids Learn About White Privilege | The School That Tried to End Racism, Channel 4 (2020) YouTube. Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg (Accessed: 05 July 2025). 

Wong, B. et al. (2020) ‘Is race still relevant? student perceptions and experiences of racism in Higher Education’, Cambridge Journal of Education, 51(3), pp. 359–375. doi:10.1080/0305764x.2020.1831441. 

FACE (2024) Face race handbook, FACE. Available at: https://www.weareface.uk/face-race-handbook (Accessed: 05 July 2025). 

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IP Blog Task 2: Faith, Religion and Belief 

Posted on 7th June 2025 by Maja Mehle

Religion is very complex. In his TED talk “Is Religion Good or Bad? (This is a Trick Question),” Appiah explains how religion can’t be generalised for everyone. He says: 

“Religion is not one thing; it’s a complex set of traditions, practices, and beliefs that vary across cultures and time.” 

And to make things even more complicated, religion doesn’t exist in isolation. It intersects with gender, race, disability, socioeconomic status; you name it. Kimberlé Crenshaw’s idea of intersectionality is key here. 

Reading Jawad’s article Islam, Women and Sport: The Case of Visible Muslim Women makes it painfully clear how much harder it is for Muslim women to participate in sports compared to Muslim men, especially when they wear hijab or burka. The common sports events and dress styles do not accommodate Sharia Law requirements. Jawad explains: “To improve access to sport-related activities for Muslim girls and women would require sex-segregated spaces and accommodations for modest dress.” 

This idea of visible Muslim women and how they’re perceived is also central in Jaclyn Rekis’s article Religious Identity and Epistemic Injustice: An Intersectional Account. Rekis highlights how women who practice veiling are often judged not for what they say or know, but for what they wear. Their dress becomes the thing people “read,” instead of listening to their actual voices or understanding their beliefs. 

A couple of days ago, I attended the Fashion Show at Central Saint Martins, where forty students from the BA Fashion Programme presented their collections. The work was incredibly diverse; students from different cultural, religious, and social backgrounds showed pieces that celebrated their positionality, and the garments or wearable sculptures were shown on the bodies that were of a different race, gender, age, ability, and body size. It really reflected the student cohort at CSM Fashion today—a change from the old days when fashion was mostly white, skinny, and when European designers mined “exotic” cultures for inspiration with zero accountability. Note: there is still a lot of room for improvement. 

The show was a success and got loads of good press, likes, and comments. 

But… if you were there in person or looked closely, you’d have seen that the whole catwalk and audience were surrounded by a tall fence, covered in black foil. The barrier was completely shut during the show. It looked like we were sitting in a cage. 

The cage wasn’t fashion or stage. It was security. It was meant to protect the show from the UAL SJP (UAL Students for Justice in Palestine) protest happening just outside. Last year, a similar protest took place during the same show and because it was happening on the bridges directly above the catwalk, it got a lot of media attention, pulling focus from the students’ work. So, this year, UAL put the show in a space where they could build a cage and “minimise disruption.” 

But here’s the thing: we can celebrate diversity on the catwalk and studios all we want, but what does it mean when we literally cage the space to avoid protest? Who gets to be visible, and who gets blocked out? Who is caged in? Who’s allowed to speak, and who is silenced?  

References: 

Crenshaw, K. Intersectionality, 1990. Accessed on 27 of April 2025 at https://moodle.arts.ac.uk/mod/folder/view.php?id=1386601 

Appiah, K. A. (2014) Is religion good or bad? (2014) YouTube video, added by TED [Online] available at: https://www.youtube.com/watch?v=X2et2KO8gcY  

Trinity University, (2016), Challenging Race, Religion, and Stereotypes in the Classroom. YouTube video, [Online] available at: https://www.youtube.com/watch?v=0CAOKTo_DOk 

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women, LSE.  

Rekis, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account [online]. Hypatia, Cambridge University Press.  

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Intervention summary proposal: 

Posted on 26th May 2025 by Maja Mehle

Objectives, from the unit checklist: 

  • change (intervention) that promotes inclusive learning in your practice 
  • how useful it would be to your practice, for supporting students and or staff 

When choosing your intervention consider the following questions: 

  • What aspects of diversity do you want to consider and why? 
  • How does it link to your practice? 
  • How feasible do you think it would be to implement? 

Proposal:  

Creation of an inclusive resource of Fashion/garment/make references. 

I often feel out of my depth when discussing fashion and garment making with students from different cultural backgrounds or those educated outside Europe. (It’s worth noting that non-European schools don’t always approach things differently; many overseas institutions follow European methods of teaching fashion and often employ European tutors.)

I am a white European woman with a traditional European fashion education. My fashion references are limited, Eurocentric and somewhat one-dimensional, and I believe that with more inclusive approaches, students’ experiences could be enriched and learning outcomes improved.

Students often feel compelled to design and construct garments in a particular way. A way they perceive as traditional and the only “proper” or “correct” method, because it is the most widely used in the Western fashion industry and promoted by many fashion schools.

I’m trying to encourage students to question and rethink these traditional, expected ways of making. Instead, I urge them to consider their positionality, to explore garment creation through the lens of their own cultural backgrounds. This could involve reimagining materials, pattern cutting, sizing, body shapes, garment ranges, techniques, and beyond.

The goal is to create an image resource/library (a physical or digital folder), that includes work of designers: 

  • That are a part of Global Majority 
  • various genders 
  • different sexualities 
  • Different social backgrounds 
  • Have disability  
  • That are neurodivergent 

Garments, materials and techniques that: 

  • Represent another culture, for example saree or Ankara fabric 
  • Represent another religion/faith or belief 
  • Represent different social background. For example, overlocking stitch is cheap and “low grade” production method due to popularity within the high street brands.  
  • Support disability and neurodivergent make, for example hand sewing, digital realisation…) 

Other thoughts to consider:  

  • Creating this resource will take time 
  • The methods of gathering knowledge and references from cultures and backgrounds that I am not familiar with 
  • Make sure there is fair representation. How will I know and achieve this? 
  • How do I gain feedback?  
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IP Blog Task 1: Disability 

Posted on 27th April 2025 by Maja Mehle

“The social model of disability is the understanding that disability is something that is created by society.” 

I grew up in a communist and socialist country. In a country where everyone was equal. Unless you had disability. Or if the system considered you had learning disability. Then you stayed at home. Or you were put in a “special school”.  Specials schools often had derogatory names, and everyone was put in the same class and followed the same programme. The pupils attending special schools rarely participated in activities other schools did. The special schools were never mentioned anywhere, only talked about in a joke or by parents explaining with a hushed voice: “Thats the mum of the boy that attends the special school…”, “that couple only has one son with a Down syndrome…”, “those are the kids with the blind mum…”. 

There is a man in my town with muscular dystrophy. He has trouble walking.  His nickname is Godzilla.  

There is a girl in my village who has hearing impairment. She wears a hearing aid. She never knew her father. Her mum had trouble walking.  

When I was younger, I was made believe that she couldn’t hear because her mum didn’t get married before having her and because she was made in a sin.  

If the teacher in school thought there is something “wrong” with you, they sent you to the specialist and many times they suggested the move to the “special” school.  

The first time I met someone with dyslexia was when I was 16.  

In Fashion BTEC we had one boy amongst all the girls. He was the only one that failed the first year. He was gay.  

When I moved to London to do my MA, tutors said that we should get tested for dyslexia and dyspraxia and if we have “it”, the college will give us a laptop and offer other support. 

I’ve asked my daughter, she is 9, in year 4, if there is anyone different or is treated differently in her class in primary school, in Wood Green in London. She says yes and gives the name. I ask why?  “Because they have a nut allergy, asthma and eczema.” 

I try not to treat people differently based on their abilities or differences. At least, that’s what I tell myself. 
But the truth is, I’m still part of the problem. 

Am I really being inclusive? 

I’m not doing enough to make everyone’s experience better. 
Sure, I assess whether someone needs wheelchair access, lip-reading support, or translation apps. I empathise when I hear about someone’s bad experience. 
But after a moment of sympathy, I move on. Because it isn’t my problem. And that, right there, is the problem. 

I teach garment making in an MA Fashion programme. 
We create clothes for non-disabled models, using traditional techniques, mostly sewing machines. 
We are operating in a system built for able-bodied people—and letting a few disabled students adapt to it isn’t real inclusion. It’s accommodation at best. 
True inclusion would require changing the system itself. 

What could I be doing differently? 

Instead of assuming what support disabled students might need, I could start by asking them: 
How would you like to be supported? 
What would improve your experience? 

It’s easy to fall into assumptions—like thinking all hearing-impaired people rely on lip-reading—when, as artist Christine Sun Kim reminds us, not everyone does. She doesn’t lip read. Everyone’s needs are unique.  

I could rethink how I plan workshops, lectures, and project briefs—by involving disabled people from the start.  
I could encourage students to design beyond traditional standards: for different bodies, for different ways of dressing, for different ways of making—like shirts without buttons, non-traditional pattern cutting, or techniques that don’t rely on sewing machines. I could push for designing for all bodies, not just size-6 models. 

I could reference and celebrate designers leading the way in inclusive fashion, like Sinéad O’Dwyer and Collina Strada and unfortunately not many more.  

Writing this post fills me with anxiety: fear that I’ll say something wrong and that my view is too narrow. Maybe it is.  

In 754 words, I haven’t even managed to consider intersectionality, considering disability through race, sexuality and/or gender. 
But the only way to change is to start—by admitting what I don’t know and doing the work to learn and to do better. 

Diversity is what makes life richer. 
Representation isn’t just important—it’s everything. 

References: 

https://www.sense.org.uk/about-us/the-social-model-of-disability/ , The social model of disability, as accessed on 27th of April 2025 

Sun Kim, C., Friends and Strangers, Art21, accessed on 27th of April 2025 at https://www.youtube.com/watch?v=2NpRaEDlLsI&t=604s 

Crenshaw, K. Intersectionality, 1990. Accessed on 27 of April 2025 at https://moodle.arts.ac.uk/mod/folder/view.php?id=1386601  

https://sineadodwyer.com/, accessed on 27th of April 2025 

https://collinastrada.com/, accessed on 27th of April 2025 

Photos taken from:  

https://hypebae.com/2022/9/sinead-odwyer-london-fashion-week-spring-summer-2023-interview, accessed on 27th of April 2025 

https://hypebae.com/2023/2/collina-strada-fall-winter-new-york-fashion-week-runway-info, accessed on 27th of April 2025 

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Reflection no 3: Lars Lindstrom: Aesthetic Learning About, In, With and Through the Arts: A Curriculum Study 

Posted on 16th March 2025 by Maja Mehle

The study explores the complexity of teaching and learning aesthetics about, in, with, and through the arts. It examines different types of learning, categorised as follows: 

Types of Learning 

  • Relating to goals: 
  • Convergent – goal-directed, focused, and rational 
  • Divergent – explorative, open-ended, and intuitive 
  • Relating to means of learning: 
  • Medium-specific – using distinct forms such as words, pictures, algebra, or dance 
  • Medium-neutral – focusing on broader academic achievement and personal development 

By combining these categories in pairs, the author defines what it means to learn about, in, with, and through the arts. 

The depth of this topic is effectively illustrated through an analysis of sloyd, a traditional Swedish Arts & Crafts subject focused on learning through manual training. In the study, students were given the same task, and their outcomes and portfolios were examined to reveal different learning processes and results. 

In the second half of the text, Lindström discusses four teaching approaches, drawing from Hasselskog’s study on sloyd teachers. These are categorised as: 

  • The Instructor – teaching about (convergent, medium specific) 
  • The Facilitator – teaching in (divergent, medium specific) 
  • The Advisor – teaching with (convergent, medium-neutral) 
  • The Educator – teaching through (divergent, medium neutral) 

The final section of the study addresses the importance of a balanced curriculum and assessment through the arts. 

This was my favourite reading of the term, as it answered questions I have had for years: Should we prioritise goals or the learning process? How do we teach aesthetic within the arts? Should we educate or facilitate? What ultimately leads to the best student experience in art education? And how do we define a “good” outcome? 

In my previous role I was a part of a technical team, I was clearly an instructor. However, being an instructor in an art college, it was never just about demonstrating techniques—it also involved guiding and understanding students and their aims.  

In my current role, I engage with ALL four teaching approaches. At times, I am an Instructor, giving students clear steps to achieve a specific result. Other times, I take on the roles of Facilitator, Advisor, or Educator, depending on what best supports their learning. The art of teaching is knowing when to take on each role most effectively.

References: 

Lindström, L. (2012) ‘Aesthetic learning about, in, with and through the arts: A curriculum study’, International Journal of Art & Design Education, 31(2), pp. 151–163. Available at: https://moodle.arts.ac.uk/mod/folder/view.php?id=1354533. (Accessed: 15 March 2025) 

Hasselskog, P. (2010) Slöjdlärares förhållningssätt i undervisningen [Strategies of teaching sloyd in the classroom]. Göteborg: Acta Universitatis Gothenburgensis. (Diss.) 

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Reflection no 4: Carol Becker: How art became a force at Davos, Feb 26, 2019 

Posted on 16th March 2025 by Maja Mehle

I had never heard of Davos before. 

It was intriguing to learn about it during one of the workshops, where we discussed and summarised our assigned reading texts in groups. While I am familiar with other global events, such as TED Global, I had never come across Davos. Davos refers to the annual World Economic Forum (WEF), which led me to read the article for myself. 

How Art Became a Force at Davos is an article written by Carol Becker in February 2019 for the World Economic Forum. Becker shares her experience attending Davos for the first time and her surprise at realising that art and the creative industries were not represented at one of the world’s largest gatherings of leaders. She explains how she began inviting artists to the forum, and over the years, more and more creative leaders have joined. 

Moreover, Becker states: “Artists, writers, designers, filmmakers, cartoonists, and musicians of many nationalities have been invited, not as tangential guests but as essential participants in conversations around immigration; climate change; surveillance and privacy; the treatment of indigenous populations; urban issues; gender discrimination; disability inclusion; economic inequity; environmental sustainability; and world health.” 

Throughout the article, she highlights some of the most prominent and memorable artists who have attended the forum each year and why their presence was significant. She also discusses projects that have been funded and commissioned using the forum’s resources and connections. 

It is disheartening, though not entirely surprising, that the forum existed for over 50 years without including art or the creative industries. The work Becker is doing to integrate art into Davos is admirable and a significant achievement—art brings a unique perspective to global issues. 

However, the article also gave me the impression that art still serves as entertainment and “decoration” while more serious discussions take place and business deals are made. 

References:

Becker, C. (2019). How art became a force at Davos. World Economic Forum Annual Meeting. Available at: https://www.weforum.org/stories/2019/02/how-art-became-a-force-at-davos/. (Accessed 15 March 2025)

World Economic Forum (2025) World Economic Forum. Available at: https://www.weforum.org/ (Accessed 15 March 2025) 

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Reflection no 2: Microteaching workshop: Object-Based Learning 

Posted on 16th March 2025 by Maja Mehle

Date: 3/2/2025 

I was not sure what to expect from the Object-Based Learning Microteaching workshop. I knew we would be in a group of six and each person was asked to prepare a twenty-minute activity based around an object of our choice. As a preparation for the workshop, I watched supporting seminars by Judy Willcocks and Georgina Orgill about Object-Based Learning and what Wilcocks does as a part of the CSM Archive. I was partly familiar with her work, she did a workshop with my students in November, and we have received fantastic feedback from the cohort.  

During the workshop, I’ve participated in 5 microteaching sessions, that were extremely innovative, engaging, and enjoyable. Each session was different, and I’ve learned about the topic that each session explored and about diverse ways of teaching and learning.  

Some of the most memorable moments included Young’s unique approach of showing only an object’s shadow, making us guess and engage multi-sensorily. Monica invited us to feel the object hidden inside a box and describe, guess, and even draw the object—without ever revealing it. This session was slow paced and very calming. 

Rebecca guided us in making the traditional Chinese sign Fu, ensuring we understood each step and reassuring us that mistakes happen to everyone, even experienced makers. Emilia’s session transformed simple line drawings of ordinary objects into abstract jewelry, showing how to create with minimal tools and skill. 

Jess’s workshop involved picking a shoe and imagining its owner’s story, including a hidden secret—an inventive way to spark creativity and imagination.  

This workshop stayed with me for days, as each facilitator brought something unique, personal, and unforgettable. I was surprised by how many tiny details I remembered—far more than usual—thanks to the object-based teaching and the integration of drawing and creating with our hands.  

References:

Willcocks, J. (2018) Museum & Study Collection: Judy Willcocks Copenhagen Presentation. Available at https://www.arts.ac.uk/colleges/central-saint-martins/about-us/museum-and-study-collection(accessed on 15 March 2025). 

Willcocks, J. Orgill, G. (2024) XPE Jan 2024 Part 1 and XPE Jan 2024 Part 2. Available at: https://ual.cloud.panopto.eu/Panopto/Pages/Sessions/List.aspx#folderID=%2261e304ce-5498-4672-a72b-b10600e460e4%22 (accessed on 15 March 2025) 

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CASE STUDY 1: Knowing and meeting the needs of diverse learners 

Posted on 13th March 2025 by Maja Mehle

Introduction & Background 

During the first week of Year 1 welcome activities, I led an activity including the whole MA1cohort (54 students). Prior to this activity, students were asked to bring a piece of clothing, garment, or accessory. At the start, students were given paper and pencils/pens. The workshop lasted 2 hours. One by one, students described their chosen garment in detail without revealing it, using as many descriptive words as possible. Meanwhile, the rest of the group had 30 seconds to sketch the garment based solely on the verbal description. Once finished, the garment was revealed, we compared the sketches to the actual item and engaged in a brief discussion on the results. 

Evaluation 

MA Fashion at CSM is an extremely high-profile course and often students feel intimidated by peers, tutors and their perceptions of the course expectations. My challenge is to create an engaging and welcoming environment, allowing students to meet me, get familiar with my role and skills and build connections with their peers. This welcome activity allows students to express their personality and creativity, while also allowing me to gain initial insights into their needs and learning styles.  

Moving Forward 

As this is one of their first activities on the course, maintaining a relaxed environment is essential. Incorporating a drawing activity alongside object-based learning proves to be a more effective approach in achieving this, rather than overwhelming students with a data-heavy lecture.  

The activity encourages participation, but instead of students taking turns in a predicted pattern, the order was sporadic by asking students: who wants to go next? Some students did not want to take part. I found the random order to be more relaxed, inclusive, and productive. It allows students that are more outgoing and braver to go first and allows the “quiet ones” to go later and have a bit more time to prepare. Working in order can cause anxiety, while students wait for their turn. This created a safe space and a relaxed mood, with minimum pressure.  

Assessing skill level and specialist vocabulary: 

Students from “non-Fashion” backgrounds were hesitant due to lack of specialist language. By reassuring them at the beginning of the session, they should describe garments to their best ability and knowledge and not worry about the correct wording. Also, instead of trying to find the correct word, they can make comparisons to other, more familiar things. For example: in …the style of…, …feels like…, …shape is similar to…, …square like…, …circle like… 

This part of the activity can be less useful for the assessment of the skill level, due to the language barrier, and anxiety to perform.  

Language barrier: 

Some international students were shy and nervous due to the language barrier. It took them longer to find the correct words to describe the garments. If a student’s level of comprehension or spoken communication raises concerns, I will recommend that they seek additional support from the UAL Language Centre.  

Drawing/skills:  

Drawing used to be an essential part of any Fashion course. Drawing was used as a means of communicating ideas, design solutions and in presentations. In recent years there is less, and less drawing and students use other techniques to express their ideas. I still encourage students to use drawing when they can, whether they know how to draw or not. Any sketch is better than no sketch and illustrations are a great visual aid in learning and teaching. And like Salamon discusses: “[drawing is] used as a research tool for developing thinking, improving concentration and enhancing memory.” 

When we started the activity, some students were quick to say: …I am not good at drawing… and …I don’t know how to draw… and started with hesitation. I have explained that due to 30s limit the sketches should be quick and not perfect.  Soon, everyone was drawing and they all ended up with almost 54 sketches.

References:

Harris, K. (2022) Embracing the Silence: Introverted Learning and the Online Classroom. Available at: https://sparkjournal.arts.ac.uk/index.php/spark/article/view/161  

Salamon, M. (2018) Drawing laboratory: Research workshops and outcomes, Spark: UAL Creative Teaching and Learning Journal / Vol 3 / Issue 2 

Willcocks, J. (2018) Object based learning. Available at: https://www.arts.ac.uk/colleges/central-saint-martins/about-us/museum-and-study-collection  

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CASE STUDY 3: Assessing learning and exchanging feedback 

Posted on 13th March 2025 by Maja Mehle

Introduction & Background: 

Students start the course with Unit 1: Creative direction. This is not a making project but a project where students are asked to make a proposal to bring back to life a defunct brand or a fashion house. This includes detailed research, creative direction, design direction and video communications. The project lasts from November until the end of January. Students get 2-3 design tutorials, technical support in creating digital worlds and narratives and supporting lectures about sustainability and values in practice.  

Evaluation: 

Many submitted projects have been unexpectedly poor in quality, giving us, tutors and assessors, the impression that students may not fully understand what is expected of them or what constitutes a successful project and strong outcome. This raises an important question: If the submitted work is substandard, are students truly learning? Additionally, are tutorials an effective method of teaching in this context? While a few students performed well during tutorials and produced high-quality work, their final submissions often lacked evidence of key components, that were shown during tutorials and tutors remember discussing them but were not included in final portfolio.  Overall, many projects seemed to lack dedication and a fully developed ideas, suggesting a need to reassess how students engage with the learning process and project expectations. 

Moving Forward: 

Brief:   When writing a brief, I will make sure that the learning outcomes are not ambiguous and during the briefings, encourage discussion about the expectations and LOs, making sure students understand them. I did consider showing an exemplary project, which would avoid confusion and offer more clarity, but I am worried that this would give outcomes that are too prescriptive and not original. It is a complex situation of telling students what to do but not really telling them how to do it and expecting them to perform well.  

As discussed by Davies in the text Learning outcomes and assessment criteria in art and design. What is the recurring problem? where he says: “In terms of meaningfulness, they [learning outcomes] equate to the notion of ‘understanding’, a cognitive term which is regarded as too complex and which should be substituted by other, more measurable, terms such as, ‘explain’, ‘analyse’, etc. Another drawback in the use for these terms, acknowledged by Biggs (2003), is that they are regarded as ‘divergent’ and as such do not invite one appropriate answer but a range of possibilities. 

Group tutorials: Organise group tutorials to support peer-to-peer learning. Combining student slots will also allow students to spend more time with the tutor and offer space for creative discussions and mid-process feedback. Students will be more aware of what other students are doing for any future collaborations. 

Assessment as learning: Instead of submitting projects online, and asking tutors to write feedback individually, organise a crit and ask students to present in front of the tutors and peers. Each student will have an opportunity to see other projects and hear immediate feedback, and this should hopefully enable thinking, learning and understanding of what the level of expected outcomes is. This will also raise the bar on the quality of presentations and support competitiveness.  

The crit should also offer some support to tutors. Their feedback should be collected by someone taking notes and sharing them with students via the assessment. The assessment would be done quicker, saving everyone precious time.  

References:  

Davies, A. (2012) Learning outcomes and assessment criteria in art and design. What’s the recurring problem? Available at: http://arts.brighton.ac.uk/projects/networks/issue-18-july-2012/learning-outcomes-and-assessment-criteria-in-art-and-design.-whats-the-recurring-problem 

Biggs, JB (2003) Teaching for Quality Learning at University, SRHE & OU Press. 

Stephens, T., Staddon, E., Course Designer: Designing Inclusive Assessment, The Exchange, UAL

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CASE STUDY 2: Planning and teaching for effective learning 

Posted on 13th March 2025 by Maja Mehle

Introduction & Background: 

In the final stage of MA Fashion Unit4: Major Project, Part 2: 3D Realisation (Collection), students require a lot of technical support and advice. During this time there are scheduled activities such as garment fittings and studio practice tutorials. As their Technical studies tutor I am available to students for tutorials 4 days per week, all day. During fittings, I am present to support them with commentary during their allocated slot.  

Evaluation: 

This is an extremely busy and fast paced time and there are days when there is not enough time to see everyone that requires my support and input. Besides my tutorials and one-on-ones, and a permanent full-time technician we also book HPL technicians and pattern cutters, that work with students daily. In my opinion, there is plenty of technical support available for students, but I still have a feeling that some students struggle and need more assistance. This is independent study time, so there is a variety of activities happening: individual fittings, design tutorials, making and pattern cutting support.  How do we better manage the time, space, and resources to have a better teaching and learning environment?  

Moving Forward: 

One to one ad hoc tutorial: Scheduling designated days for one-to-one tutorials and shorter/quicker questions. On fitting days, I will be available to answer any questions before or after fitting slots.  

Communications with pattern cutters and technicians regarding specific students’ needs: 

 I will schedule and dedicate some time to brief pattern cutters and technicians regarding the needs of specific students. Prior to their first sessions a more general discussion and briefing and during busy times, due to time constraints, a group morning briefing session seems like the best solution.  

Assessing levels of tech knowledge and grouping:  

Assessing the student’s skill level and making notes and potentially grouping them in regard to it: for example, students that need more support either at the beginning of the session or at the end. Historically, students that struggle or require more time have been requesting later slots, to allow them more time and more technical support. Another option is grouping students regarding their specific skill to a technician that specialises in that skill. For example, a pattern cutter that specialises in women’s tailoring to be responsible and supporting students that require that skill. A menswear technician to support menswear students and so on.  

Brief students at the beginning of the Unit:  

I will organise a meeting with the student group and discuss the technical timeline. I will explain what the expectations are for each stage/fitting and how to go best about it. I will clearly display a technical timeline on the noticeboard and keep referring to it as a point of information and reference. Be clear of the type of questions and support they can expect from the external pattern cutters and technicians and what my support will be during this time.  

Fitting tutorials:  

During the fitting tutorials I will be making clear notes, that will be shared with students immediately after their fitting slot. Students will be able to individually brief pattern cutters and technicians’ regarding the amendments and corrections and won’t have to wait for my instructions.  

Overall: 

Clearer instructions to students and external staff regarding the timeline and expectations during this busy time. Considerate planning of the sessions and allowing valuable time for briefing and sharing of notes.  

References:

Davies, A. (2012) Learning outcomes and assessment criteria in art and design. What’s the recurring problem? Networks, Issue 18, Faculty of Arts, University of Brighton

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