PgCert

What is your project focus?
How can a “Fashion Break” intervention embody generous pedagogy to foster inclusivity and social justice in the PPD unit of the BA WW course by alleviating unnecessary stress, addressing power dynamics, and creating an equitable, supportive environment that encourages open collaboration and reflection during the final preparations for the project submission?

What are you going to read about?

1. Ashwin, P., 2020. Reflective Teaching in Higher Education. London: Bloomsbury Academic.
2. Brookfield, S., 2015. The Skillful Teacher: On Technique, Trust, and Responsiveness in the Classroom*. 3rd ed. San Francisco: Jossey-Bass.
3. Bunting, L. and Hill, V. et al. (n.d.) Belonging through Compassion. Available at: https://belongingthroughcompassion.myblog.arts.ac.uk/ (Accessed: 5 November 2024).
4. Collins, P.H., 2019. Intersectionality as Critical Social Theory. Durham: Duke University Press.
5. Fals-Borda, O., 2018. Participatory Action Research: Theory and Methods for Engaged Inquiry. 2nd ed. New York: Routledge.
6. Freire, P., 2018. Pedagogy of the Oppressed. 50th Anniversary ed. New York: Bloomsbury Academic.
7. 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.
8. Hooks, B., 1994. Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.
9. Leone, L. (ed.) (2020) Craft in Art Therapy: Diverse Approaches to the Transformative Power of Craft Materials and Methods. London: Routledge.
10. Marshall, J. and Powell, K., 2020. Art Practice as Research: Inquiry in the Visual Arts*. 3rd ed. Thousand Oaks: SAGE Publications.
11. 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].
12. 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.
13. Universal Design for Learning (UDL), 2024. Universal Design for Learning Guidelines. [online] Available at: <https://udlguidelines.cast.org> [Accessed 15 October 2024].

What action are you going to take in your teaching practice?
In my teaching practice, I will implement the “Fashion Break” intervention to promote inclusivity, social justice, and generous pedagogy. This initiative will create a supportive, low-pressure space where students from diverse backgrounds can connect through dialogue, collaborate meaningfully, and alleviate project-related stress. As unit leader, I will integrate structured 20-30 minutes breaks within lessons for two groups I teach, where students can engage in reflection, skill-sharing, and creative exercises. These activities will emphasize the value of everyone’s perspective, promoting an equitable and inclusive learning environment.

Initially, these sessions will serve as a pilot for evaluating the intervention’s effectiveness. During this pilot, I will run short, collaborative activities in which students share personal and cultural insights, discuss challenges, and support each other’s creative processes. By encouraging students to explore how their identities and unique backgrounds shape their creative approaches, the intervention will help foster open collaboration and dialogue. This approach will allow me to test how the activities promote inclusivity, reduce stress, and enhance student well-being in a controlled, smaller setting. Following the pilot, the feedback and reflection gathered will guide adjustments to make the intervention suitable as a core course activity. Based on these reflections, I will refine the format and activities to better meet student needs and ensure that they contribute to a positive and supportive classroom culture. I will then test this refined version in the wider context of the program and university, aiming to further expand and integrate it across different courses to create a lasting impact on the student experience. To ensure accessibility and avoid creating additional barriers related to attendance or other responsibilities, these activities will be embedded within the curriculum and structured flexibly. This way, “Fashion Break” will continue to be a recurring opportunity to reaffirm inclusivity, address power dynamics, and support all students equitably as they progress through the unit.

Who will be involved and how?
The workshop will be embedded in the curriculum as a 30-minute activity within design classes on Y2 BA Fashion Design Technology Womenswear, with students being informed of it in advance. The next step will be to develop a version that can be implemented in other courses, potentially evolving into a stand-alone workshop that creates more opportunities for community-building across UAL. This could eventually become a university-wide project, fostering even greater inclusivity and collaboration.

What are the health & safety concerns, and how will you prepare for them?
For the upcoming workshop, I will address health and safety by ensuring the classroom space is suitable and safe for all activities. This includes checking for any hazards, ensuring proper ventilation, and making sure materials and tools are safe to use. I will also brief students on safe practices, particularly when working with found or recycled materials, and ensure clear access to fire exits. Since the workshop will be embedded in the class, emotional and psychological safety will be considered, with participants encouraged to share only what they feel comfortable. Support structures like UAL counselling services will be available if needed with direct liaison with tutor and academic support officer. Additionally, I will ensure first aid resources are on hand and promote a clean and organized workspace throughout the session.

How will you protect the data of those involved?
To ensure the protection of participant data, I will begin by providing full transparency regarding the research objectives, the type of data being collected, and how it will be used. Participants will be informed of their rights and any risks involved before the research begins. Written consent will be obtained from all participants, ensuring they understand their right to withdraw at any time without consequences. I will follow the principle of data minimization, collecting only the data necessary for the research and avoiding sensitive information unless essential and explicitly consented to. All data shared with colleagues or in research dissemination will be anonymized or pseudonymized to protect participants’ identities, and raw data with identifiable information will not be shared. I will adhere to GDPR regulations and the university’s data protection policies to ensure compliance. After the study, participants will receive a summary of findings and how their data was used. All research outputs, including publications or presentations, will feature anonymized results, ensuring no identifiable information is included. Participants will be informed about how their data will be used in any public outputs and given the choice to opt in or out of specific uses. Ethical approval will be obtained prior to conducting the research to ensure adherence to institutional guidelines. I will document the workshop by taking photographs of the participants and the creative work produced during the session (always with participants consent), capturing key moments and highlights of the process. Additionally, I will create a reflection blog post that will incorporate my thoughts and observations, as well as insights gathered from participants’ notes and feedback. This will provide a comprehensive overview of the workshop experience and allow us to reflect on what worked well and what could be improved for future sessions. Importantly, no audio or moving image recordings will be made, ensuring that participants’ privacy and comfort are prioritized throughout the documentation process. This approach aims to create a visual and written record that celebrates the creativity and collaborative spirit of the workshop while maintaining a respectful and safe environment for all involved.

How will you work with your participants in an ethical way?
In conducting this research, I will prioritize ethical engagement with participants by ensuring their participation is entirely voluntary, free from any pressure, and that they are aware they can withdraw without negative consequences. I will remain mindful of power dynamics, particularly in contexts where I hold a teaching role, promoting participant autonomy throughout the research process. In line with participatory action research principles, I will work collaboratively with participants fostering mutual respect, and ensuring their input shapes decision-making. Confidentiality will be upheld through anonymized data, and I will be transparent about how their information will be stored and used. I will collect only relevant data, respecting participants’ privacy and ensuring a safe space for sharing sensitive information. Importantly, participants will benefit from the research through opportunities for learning, skill development, or personal growth. I will prioritize inclusivity and respect for diversity, accommodating individual needs and ensuring equitable participation. Throughout, I will engage in self-reflection to remain aware of my own biases and remain adaptable to participant feedback, ensuring the research process remains flexible, transparent, and ethically grounded. To mitigate and manage the emotional aspects of my intervention, I will implement several strategies as the facilitator. I will establish a comfortable working pace for the sessions, incorporating regular breaks to reduce emotional fatigue and allow students to process their thoughts. Clear role boundaries will be communicated to participants, ensuring they understand the limits of my support and where to seek additional help if needed. All activities will be conducted on campus to maintain a safe physical boundary, and I will provide debriefing opportunities after each session to encourage students to share their feelings and normalize their experiences. Additionally, I will promote peer support by fostering an environment where students can connect and discuss their reactions with one another. Finally, I will remind students of the university’s counseling services and other support resources available to them, ensuring that they feel supported throughout the intervention.

In developing my action participatory research project, I engaged in both primary and secondary research, which helped to illuminate some of my initial thoughts and inform the mind mapping process used to frame the project. The methodology framework for this project involved several methods to ensure a comprehensive understanding of the issues at hand.

Primary Research Methods included surveys conducted with students and colleagues who teach the unit in question. These surveys provided valuable insights into the experiences and perspectives of both students and educators, allowing me to identify key challenges and areas for improvement within the unit. Additionally, broader secondary research was conducted to examine students’ experiences at UAL, drawing on evidence that extended beyond the scope of the specific unit. This wider data helped to contextualize the intervention within the larger framework of the student experience at the university.

Following this, I organized a focus group with tutors and the co-unit leader, bringing together six colleagues and the course leader to discuss the unit. This collaborative approach allowed me to collect a range of opinions, ideas, and reflections (evidence of that can be found in the reflective posts on this blog), which further informed the development of a supportive intervention aimed at positively enhancing the student experience. This method also aligns with Participatory Action Learning, where both students and tutors engage actively in the research process.

Other methods employed throughout the project included observation and journaling. These reflective practices allowed me to document the process, record emerging insights, and track the project’s evolution. Through regular journaling (blog), I was able to reflect on the initial findings and adjust the project’s objectives as needed in light of new knowledge developed during the PgCert sessions/workshops. This ongoing reflection was crucial in ensuring that the intervention remained responsive to the needs of students and aligned with the overall goals of the project.

Additionally, I explored ethnographic research by immersing myself in the learning environment to better understand the students’ culture and social dynamics. This was made possible by my role as a pastoral tutor in Year 2, where I was able to guide conversations that helped collect further insights from students. This helped to provide deeper insight into how they navigate academic pressures and engage with the intervention. I also employed discourse analysis to analyze the language and communication used during focus groups, surveys, and in-class interactions to identify underlying power dynamics, inclusivity, and collaboration issues.

Moreover, I incorporated creative participatory methods through an activity based on their skills set where students could express their thoughts and experiences visually. This enabled them to document their feelings and reflections on the intervention in a more tangible and creative way. Students were encouraged to create visual representations of their experiences, which were then analyzed to uncover common themes and insights.

Photography was also suggested as a way to allow students to capture their own learning journey through images or videos, providing an additional layer of data that reflected their personal experiences and project responses.

To complement these methods, I also utilized collaborative writing, where students co-authored reflections on their and each other’s experiences with the intervention, allowing for shared insights and collaborative knowledge creation. Additionally, informal conversations/dialogue between peers as a method that could be employed in workshops to generate collaborative ideas through small-group discussions, fostering an inclusive and dynamic space for knowledge exchange.

Through these mixed methods—ranging from quantitative surveys and focus groups to qualitative techniques like observation, ethnography, and creative skills, I was able to gather a rich, multifaceted set of data. This data has guided and will continue to guide the refinement of the intervention, allowing me to assess its impact on the intervention objectives.

• Ethics form – DONE
• Draft activity plan/brief – DONE
• Run pilot with students – DONE
• Get feedback – DONE
• Refine activity – DONE
• Draft in colleagues to observe – DONE
• Prepare observation templates – DONE
• Run activity – DONE
• Capture outputs – DONE
• Reflect on session – DONE
• Collate feedback – DONE
• Prepare alternative outcomes – DONE
• Plan next steps – DONE
• Presentation slides – DONE

The core problem addressed by this action participatory research project lies in supporting students as they navigate the complexities of balancing personal and academic life within the context of higher education, particularly in one of the units I teach in Year 2 of the BA WW course at LCF, PPD (Professional Product Development).

The project draws on my dual role as both a designer and educator to foster a supportive, inclusive, and sustainable environment that encourages students to build confidence, engage in self-expression, and develop resilience. By integrating my expertise in design with my teaching practice, the intervention aims to create a space where students can feel empowered to explore their creative potential while also managing the pressures of academic demands.

The focus is on alleviating the stress that arises within the unit I teach, particularly as students struggle to meet assessment requirements, while also considering the responsibilities of tutors. This project seeks to bridge the gap between students’ academic challenges and the supportive role that educators can play in mitigating these challenges. By addressing both the students’ stress and the tutors’ awareness of their impact on students’ experiences, the intervention aims to foster a holistic learning environment where collaboration, well-being, and academic success are interwoven.

These changes were highly effective in both increasing student engagement and boosting their confidence in their work. The introduction of the toolkit allowed students to engage more deeply with the learning outcomes and assessment requirements, helping them to move beyond theoretical understanding and into practical application.

By offering a tangible, visual resource, students gained a clearer understanding of how to meet the expectations, which enhanced their ability to apply these concepts to their own work. As a result, students not only felt more confident in their creative process but also showed a deeper comprehension of how to align their work with the unit’s goals, ultimately improving both their academic performance and overall learning experience.

The timing of the intervention proved to be well-suited (something I was unsure of a few weeks ago and reflected on my Step 3: ARC post), as students appeared to benefit significantly and expressed appreciation for its implementation during this phase of the unit. It aligned with the momentum of their learning, allowing them to reflect on their progress and engage meaningfully with the material as they approached the unit’s conclusion. However, incorporating the intervention earlier could enhance its impact by helping students stay on track with the unit’s pace, avoiding the need to dedicate additional time later. By introducing the cards earlier, we (team) can ensure students are better positioned to maintain consistent progress, making the learning experience more seamless and effective.

Reflecting on the recent delivery of the “Fashion Break” workshop to two groups of students, several thoughts have emerged regarding potential changes and next steps. The session itself provided valuable insights into student well-being and stress levels, and the use of theoretical frameworks helped unpack some key findings.

Understanding the impact of stress and well-being in higher education has been central to this research. Ashwin (2020) discusses reflective teaching as an effective way to address student needs, while Brookfield (2015) emphasizes the importance of responsive teaching practices. Additionally, Creswell & Plano Clark (2017) offer valuable insights into mixed-methods research, combining both quantitative and qualitative approaches – something that mirrors the surveys and feedback collected in this project.

The findings from the workshop confirmed what existing research on student well-being suggests: reducing stress through reflective and responsive teaching practices can help mitigate anxiety and improve academic performance. The positive effect of the “Fashion Break” session on students’ stress levels further supports this connection.

Building on this reflection, the next workshop I developed, called “Design Surgery,” draws from sessions I’ve delivered in the past. It felt necessary to extend the support for students, offering more focused, individualized attention without losing the benefits of a larger class dynamic. This workshop also allowed me to test the toolkit I had been developing – designed as a resource for both tutors and students to use independently.

To ensure the toolkit was effective, I analysed a wide range of student portfolio pages, spanning from A to E grades (including fails). The goal was to understand how students approach visual layouts and how they can effectively communicate their work while meeting the unit’s learning outcomes in a visually engaging and narrative-driven way. This analysis informed the development of tools that could guide students toward stronger visual and conceptual presentations.

The visual tools within the toolkit connect to the principles of co-design and creative exploration in learning. Gauntlett’s (2011) work on creativity and the social meaning of making highlights how design, particularly when tied to personal identity and collective experiences, can foster deeper engagement and understanding. Co-creation (Sanders & Stappers, 2008) in design emphasizes collaboration and shared knowledge-building, which the toolkit embodies by involving students in both its creation and testing.

The toolkit itself serves as a visual methodology, offering students a hands-on way to engage with course content. It aligns with the principles of Universal Design for Learning (UDL), ensuring accessibility and engagement for a diverse group of learners. The iterative nature of the project, which involves ongoing testing and refinement, echoes the approach of design experiments (Brown, 1992), where tools are continuously developed through real-world application.

Taking into consideration the feedback and insights from both tutors and peers, and with a clearer understanding of the intervention’s structure and goals after some back and forth with my tutor, Rachel, I have now begun to plan how to deliver it and integrate it into the curriculum during weeks 8 or 9 in Block 1. This timing is particularly strategic, as it falls just before the submission deadline in week 10 of the unit in question.

The next steps will be to run the “Fashion Break” workshop to gain a better understanding of students’ stress levels and unpack insights on how to frame a session that can support them during Open Office time. I have previously delivered similar sessions in other units I taught, focusing on showing the learning outcomes in practice, visually. I believe creating an extension of this first workshop and delivering a second one focused on Design Surgery could be helpful in supporting students more directly. A liaison with my co-unit leader will be necessary, as well as collaboration with other design teaching staff in the unit, to identify students at risk and mitigate challenges.

One key aspect to consider is the momentum generated by reflecting on how the intervention aligns with the unit and the opportunity to implement it at this point in the academic term. Implementing it at this stage will allow me to assess whether this is the right time for such an intervention, as students will be nearing the end of the unit and will have experienced it in its fullness. This timing will also give students the chance to reflect on their experiences and provide valuable feedback on whether the intervention was helpful in addressing their needs, challenges, and goals.

This is also an opportunity to think about curriculum design and planning in order to continue placing the student experience at the forefront, while also focusing on the criticality and accessibility of content.

Additionally, it is essential to prepare and implement student consent forms as soon as possible. I urgently need to begin drafting the final presentation and start storyboarding the content. This will allow me to develop the presentation in a structured and cohesive way, ensuring that all key points are clearly communicated and aligned with the overall objectives/learning outcomes.

After two tutorials discussing the intervention plan, one with my group in the PGCert program and another 1-2-1 with Rachel, my tutor, I was able to refine and clarify key aspects of the research project that required greater focus and alignment. These discussions prompted me to consider more deeply certain foundational elements, including the specific goals of the intervention, the practical steps needed for implementation, and how to ensure the intervention’s relevance to both students and university.

Through these conversations, I gained valuable insights into structuring the project more effectively, specifically in terms of aligning the intervention with the learning outcomes of the unit I teach, as well as addressing both student and tutor needs in a balanced way.

Feedback highlighted the importance of clarifying how this intervention could practically enhance students’ experiences and outcomes while also supporting tutors in navigating their educational responsibilities – and be doable within the curriculum.

This included surfacing more explicitly how the intervention links to social justice and inclusivity principles, my relationship with the research proposition to frame the intervention and how it can alleviate student stress and foster a more collaborative, inclusive environment, in line with the unit’s learning objectives. Additionally, these tutorials helped me to think about ways to incorporate structured reflection and feedback mechanisms to evaluate the intervention’s impact effectively, ensuring that it remains adaptable and responsive to ongoing feedback from all participants.

Overall, these discussions clarified my next steps in the project, equipping me with a clearer pathway to align my goals, establish measurable outcomes, and develop a well-defined plan for implementation. Find further details below:

Link to Social Justice and Inclusivity Principles
My angle to social justice and inclusivity is rooted in creating a supportive, equitable environment where all students feel valued and empowered to contribute, regardless of their background. Front and center, this approach emphasizes reducing hierarchical barriers, celebrating diverse perspectives, and fostering collaboration through activities that prioritize empathy, open dialogue, and shared creative experiences. By integrating these values into every aspect of teaching, I aim to ensure that each student has an equal opportunity to learn, express themselves, and feel part of a respectful and inclusive community.

My relationship with the research proposition to frame the intervention:
My relationship with the research purpose is deeply rooted in my dual role as both a practitioner in the fashion industry and as a unit leader in academia. Professionally, I’m driven by the principles of collaboration, co-design, and social impact in fashion – working across diverse groups to create change within the industry, which I believe is equally crucial in educational settings. This research reflects my commitment to fostering inclusivity and social justice by bringing these collaborative, change-oriented principles to the academic environment.

Having been an international student myself, and currently navigating life as an immigrant, I am constantly negotiating my cultural background in contrast to the contexts in which I work and live. This perspective fuels my motivation to create a learning environment that respects and embraces the diverse backgrounds of our students, particularly within a demanding unit like the Year 2 Professional Product Development in the BA Fashion Design Technology Womenswear course. I recognize that this unit, with its critical and rigorous approach, often poses significant challenges—not only due to its academic demands but also because of barriers related to language, time constraints, personal responsibilities, health, and life circumstances.

As unit leader, I feel a deep responsibility for students’ learning journeys, ensuring their experiences are positive, supportive, and equitable at every step. I am committed to reframing this unit—not as a “troubled” or overly demanding segment of the course—but as a supportive and enriching experience for both students and tutors. I want tutors to feel equipped and supported in delivering this unit in a way that aligns with our shared goals for inclusivity, making it an empowering component of the course that fosters critical growth while being sensitive to the realities our students face.

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.