After the session, I delved further into my reading plan, reflecting more intentionally on how each text could enrich not only this specific workshop but also my broader teaching practice over the long term. This reading list provides a carefully curated foundation for a workshop in fashion education, with each work offering valuable insights that contribute to building a dynamic, inclusive, and creatively stimulating learning environment.
This is what I am currently reading to plan, inform and deliver my intervention for this unit:
- Ashwin, P., 2020. Reflective Teaching in Higher Education. London: Bloomsbury Academic.
- Brookfield, S., 2015. The Skillful Teacher: On Technique, Trust, and Responsiveness in the Classroom*. 3rd ed. San Francisco: Jossey-Bass.
- Bunting, L. and Hill, V. et al. (n.d.) Belonging through Compassion. Available at: https://belongingthroughcompassion.myblog.arts.ac.uk/ (Accessed: 5 November 2024).
- Collins, P.H., 2019. Intersectionality as Critical Social Theory. Durham: Duke University Press.
- Fals-Borda, O., 2018. Participatory Action Research: Theory and Methods for Engaged Inquiry. 2nd ed. New York: Routledge.
- Freire, P., 2018. Pedagogy of the Oppressed. 50th Anniversary ed. New York: Bloomsbury Academic.
- Gauntlett, D., 2018. Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. 2nd ed. Cambridge: Polity Press.
- Hooks, B., 1994. Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.
- Leone, L. (ed.) (2020) Craft in Art Therapy: Diverse Approaches to the Transformative Power of Craft Materials and Methods. London: Routledge.
- Marshall, J. and Powell, K., 2020. Art Practice as Research: Inquiry in the Visual Arts*. 3rd ed. Thousand Oaks: SAGE Publications.
- Quality Assurance Agency for Higher Education (QAA), 2023. QAA’s Inclusive Education Framework. [online] Available at: <https://www.qaa.ac.uk> [Accessed 15 October 2024].
- Sennett, R., 2008. The Craftsman. London: Penguin Books.
- Tatum, B.D., 2017. Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race. 20th Anniversary ed. New York: Basic Books.
- Universal Design for Learning (UDL), 2024. Universal Design for Learning Guidelines. [online] Available at: <https://udlguidelines.cast.org> [Accessed 15 October 2024].
Reflecting on these readings has been instrumental in shaping both my intervention proposal and its delivery, at the same time I take into consideration my ongoing teaching practice. Each text has contributed with essential ideas and approaches that are helping me design a learning experience that is inclusive, reflective, and creatively engaging.
Ashwin’s Reflective Teaching in Higher Education and Brookfield’s The Skillful Teacher have been foundational in guiding my approach to teaching as a reflective practice. Ashwin’s emphasis on self-reflection as a growth tool has encouraged me to continually assess my own teaching decisions, making me more conscious of how each choice impacts students’ learning. Brookfield’s focus on technique, trust, and responsiveness has provided practical insights into building a supportive environment, especially vital in a hands-on fashion workshop. These strategies will allow me to better understand and respond to the diverse learning needs of my students, ensuring that each participant feels valued and engaged.
Inclusivity has emerged as a key theme in my proposal and therefore reading, with Collins’ Intersectionality as Critical Social Theory and Tatum’s Why Are All the Black Kids Sitting Together in the Cafeteria? deepening my understanding of how social identities influence students’ experiences. Collins’ intersectional framework will help me create a classroom space that acknowledges and respects the varied backgrounds students bring with them. Tatum’s work highlights the importance of open dialogue around race and identity, essential in a fashion context where cultural influences and representation are constantly at play – which might be one of the topics for discussion. Together, these readings encourage me to adopt a more inclusive teaching approach, enabling students to explore these issues as they relate to fashion design and self-expression in the collective space.
Practical frameworks like the QAA’s Inclusive Education Framework and the Universal Design for Learning (UDL) Guidelines have also been helpful in grounding my workshop design in principles of accessibility and equity. By integrating these guidelines, I aim to ensure that all students, regardless of their learning preferences or needs, have full access to the workshop and feel empowered to participate – instead of anxious or nervous to contribute and attend.
The text Belonging Through Compassion has been invaluable in emphasizing the importance of fostering a compassionate learning environment. In a fashion workshop, where students are often exploring personal ideas and creative expression, cultivating a sense of community and belonging is essential. This text supports my goal of encouraging students to take creative risks in a space where they feel supported and connected to both their peers and the learning process.
Freire’s Pedagogy of the Oppressed and Fals-Borda’s Participatory Action Research have helped me see the value of collaborative and action-oriented approaches in education. Freire’s emphasis on dialogue and critical thinking aligns well with the goals of my workshop, as I aim to encourage students to examine power dynamics, ethical issues, and cultural influences within the fashion industry. Fals-Borda’s participatory approach offers additional tools for creating an interactive environment where students’ lived experiences and insights can become integral parts of the creative process. These approaches emphasize that fashion, as a social practice, goes beyond technical skills, encouraging students to engage with the broader context of their work.
Gauntlett’s Making is Connecting, Sennett’s The Craftsman, and Leone’s Craft in Art Therapy, have influenced how I perceive the role of craft and creativity in education, in connection with my industry practice which is grounded in the material culture of a place. These works underscore that making is more than skill-building; it is a medium for self-expression and connection. In the workshop, I hope to help students see their projects as personal and expressive, encouraging them to reflect on the social and emotional meanings behind their designs. Leone’s insights on craft as a therapeutic process have also helped me recognize that engaging with materials and design can be introspective and emotionally meaningful – and an opportunity to think and unpack copping mechanisms.
Finally, Marshall and Powell’s Art Practice as Research has provided a framework for guiding students in critical reflection and inquiry through creative practice. This research-based approach encourages students to document and analyze their design process, fostering a deeper understanding of their work. By incorporating these reflective practices, I aim to support students in understanding that their portfolio is not only skill-based but also rich in personal insights and thoughtful exploration.
I am still finalizing the reading of some, and revisiting some of my notes, but together, these readings are helping me develop a workshop that balances students’ skills with critical thinking, personal expression, and inclusivity. They provide the tools to create an environment where students can engage deeply with fashion as both a craft and a medium for storytelling and social commentary. This integrated approach will, I hope, make the workshop a transformative experience for both students and myself as a teacher.