As both a designer and an educator, I occupy a unique position that allows me to integrate my professional expertise with pedagogical practices. This reflective report aims to articulate my dual role and the development of an intervention named “Fashion Therapy,” designed to foster inclusivity and community among students. By addressing the challenges faced by students in interacting across courses and improving their confidence, this intervention aligns with my commitment to creating an inclusive and horizontal educational environment.
Rationale for the Intervention
Over the past year, my pastoral tutorials with around 60 students have highlighted a significant challenge: many students struggle to connect with peers from other courses and engage in non-course-related conversations. This observation, combined with discussions about the complexities of the awarding gap at UAL—rooted in systemic barriers such as inconsistent attendance and varying levels of student confidence—led to the development of Fashion Therapy.
Moreover, my practice as a designer also informed this approach, wherein I consistently emphasize education as a crucial pillar. I conduct workshops on handmade techniques in various locations, bringing people together to engage in dialogue to cross boundaries (Hooks, 1994), negotiate meanings, share knowledge, develop skills, and enjoy the process. This intervention seeks to address the above by providing a platform where students can connect, collaborate, exchange knowledge and build self-confidence.
Positionality and Influence on Choices
My approach is deeply influenced by curiosity, rooted in experimentation, and a hands-on methodology. These aspects are crucial in my educational practice, where I emphasize experiential learning and collaborative processes, alongside participant active research. My background in fashion design informs my understanding of the value of material exploration and craftsmanship as well as ethnographic methods, which became an integral part to the intervention.
Additionally, my positionality as a white male immigrant with a master’s degree undoubtedly influences my approach to teaching and the intervention. This privilege allows me to navigate academic and professional spaces with relative ease, a perspective not necessarily shared by all students. However, it is important to recognize that my experiences are not without their own challenges. Being significantly younger than many of my colleagues has sometimes subjected me to a different form of prejudice, which can sometimes be also faced by more mature students in comparison to their peers – which, however, I won’t elaborate further at this time.
However, my positionality also brings potential biases. My professional background might lead me to prioritize certain design techniques or creative processes that align with my expertise, possibly overshadowing other valuable perspectives. To mitigate this, I consciously aim at incorporating diverse voices and feedback from both my peers at the PgCert and tutors has been meaningful – and later on from all participants, in ensuring that the intervention remains inclusive and reflective of the broader community’s needs. Fashion Therapy’s approach is responsive to the broader community’s needs rather than being shaped solely by my perspectives.
Despite these challenges, I strive to leverage my unique perspective and experiences to foster an inclusive environment that respects and values diversity in all its forms. This commitment is essential in addressing the varied needs and backgrounds of students, ensuring that they too can navigate academic spaces with confidence and support. This sense of belonging is fundamental for their overall well-being, furthermore in light of Thomas (2015, 44), “multiple identities mediate their engagement with HE and impact not only upon their capacity to meet normative criteria for belonging, but also, arguably, upon their need to belong” which will be pivotal for the success of the intervention. Moreover, designing activities and discussions that are sensitive to the varied backgrounds and identities of students ensures that diverse perspectives are represented and valued, without nurturing intergroup conflict (Tajfel & Turner, 1979). This not only enriches the learning experience but also fosters mutual respect among students at the same time that avoids fostering “what seems at first glance to be an inclusive and welcoming term contains within it the very opposite” (Mann 2005, 45–6).
Overall, challenging traditional power dynamics (Freire, 1970) has been a transformative aspect of my teaching. By applying the principles of Critical Pedagogy, I have also encouraged dialogue, collaboration, and critical thinking over the last four years teaching. It’s inspiring to see students engage deeply, challenge existing norms, and share their knowledge with confidence. Providing support has also been vital, this year I’ve seen students turn fails into C and B grades and feel significantly more integrated and focused as a result of the above practice. Creating safe and welcoming spaces where all students feel valued and respected, and offering resources for those facing systemic barriers, has been a priority and paid off significantly.
Theoretical Framework and Methodology
Based on the integration of Social Identity Theory (Tajfel & Turner, 1979), Critical Pedagogy (Freire, 1970), and Intersectionality Theory (Crenshaw, 1989), access to this knowledge has profoundly reshaped my understanding of student experiences within educational communities. Social Identity Theory, with its focus on how group membership influences self-concepts and behaviors, made me more aware of the essential role of belonging in education and made me think of my experience as a master student in London and how it was important to find my community.
Through FT, I hope to experience how promoting interdisciplinary interactions can foster this sense of belonging among students. It’s incredibly rewarding to witness students form new connections during classes, which leads to broaden their self-concepts, and diminish feelings of isolation, ultimately creating a more collaborative and supportive university environment.
The principles of Critical Pedagogy have also been transformative for me. This approach will be central to the student-led workshops in Fashion Therapy. Empowering students to take charge of their learning and facilitating a more democratic educational space can be a powerful experience. Watching students engage actively with their peers, share knowledge, and challenge existing norms has deepened my appreciation for the importance of community and mutual respect in knowledge exchange, and pivotal for the intervention.
Finally, incorporating Intersectionality Theory into designing FT has further enriched my perspective as an educator. Acknowledging the complex interplay of social identities and systems of oppression and privilege was crucial for creating an inclusive plan for the intervention. By ensuring the interventions is sensitive to the diverse experiences of students, I intend to create a safe and welcoming space for everyone.
Combining these theories in FT has not only helped me understand the multifaceted nature of student experiences but also reinforced the importance of equity, inclusivity, and community, especially in education as a practice that can feed back into the industry in years to come and have an impact on fostering new working cultures. My main objective with piloting this intervention will be seeing the positive impact on students—how they could develop a stronger sense of self, feel less isolated, and engage more deeply with each other whilst learning.
Further Reflections
By documenting each session digitally and creating simple instruction manuals for practical skills, I can enhance the learning experience and provide valuable resources for future participants as well as allow participants to catch up with it at their own times. Moreover, by working with found materials and utilizing the resource boxes at LCF, students can engage in hands-on learning and minimize resources usage, which would also eliminate another cost barrier.
Managing student-led workshops also will require a delicate balance between guidance and autonomy. Facilitators must ensure that the sessions remain productive and inclusive while allowing students to take ownership of their learning – something still to be unpacked further. Ensuring that the workshops are inclusive and cater to the diverse backgrounds and needs of all students can be complex. This will require ongoing reflection and adaptation to address potential biases and barriers that might arise. Constant revaluating will be key and feedback will be encouraged and welcome.
On the other hand, by providing a structured yet flexible space for students to interact, Fashion Therapy can significantly enhance social connections across different courses and colleges without pressure. The decompression aspect could offer a much-needed break from academic pressures, promoting mental well-being through relaxation and stress-relief activities. This can improve overall student satisfaction, commitment and produce an impact on CSS/NSS results.
Additionally, networking and the opportunity for dialogue through making has the potential to foster interdisciplinary collaborations, allowing students to gain new perspectives and skills. This can enrich their educational experience and better prepare them for the professional world.
The success of the workshops relies on student initiative and participation. Without sufficient engagement, the program may struggle to achieve its objectives. It will be important to ensure ongoing support from course teams in spreading the word.
Conclusion
I am personally invested because its main objectives address multiple aspects of student life, from social interaction and mental well-being to creative expression and skill development.
This comprehensive approach can have a far-reaching positive impact on students short term. The format of Fashion Therapy allows for flexibility in terms of activities and participation, making it adaptable to the changing and diverse needs, and interests of students. This can help sustain its relevance and effectiveness over time.
Ultimately, by drawing on key theoretical frameworks and addressing various aspects of student life, it offers a holistic approach to enhancing the educational experience. While there are challenges and weaknesses to consider and yet a long road to map out and navigate, the opportunities and strengths of FT provide a solid foundation for creating a more interconnected student community. Through continuous reflection, adaptation, and collaboration, this intervention has the potential to make a meaningful and lasting impact on the lives of students at UAL.
Although, I haven’t had the chance to run the intervention to this date, feedback has been incredibly helpful and I look forward to testing a pilot it in the next academic year.
References
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Hatton, K. (ed.) (2015) Towards an inclusive arts education. London: Trentham. [eBook in library]
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Hooks, B. (1994). Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.
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Plewis, Harriet. (2019) Reading Room: An Experiment in Expanded Reading. Retrieved from https://www.rile.space/books/reading-room-an-experiment-in-expanded-reading
QAA (Quality Assurance Agency for Higher Education). (n.d.). The Inclusive Education Framework. Retrieved from https://www.qaa.ac.uk/membership/collaborative-enhancement-projects/equality-diversity-and-inclusion/the-inclusive-education-framework
Richards, A. and Finnigan, T. (2015) ‘Embedding equality and diversity in the curriculum: An art and design practitioner’s guide.’ York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/retention-and-attainment-disciplines-art-and-design (Accessed: 11 November 2022).
Schon, D. A. (1983) The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books.
Drawing Club by Trudi Esberger and Kelly Hall (Join UAL’s weekly Drawing Club: Spring Forward at LCC | UAL (arts.ac.uk))