PgCert

Contextual Background
The PPD (Professional Product Development) is the first design unit of Year 2 for students in the BA Fashion Design Technology Womenswear course at London College of Fashion.

Having previously taught this unit as a design tutor in 2o22/23, I was later appointed as the Design Unit Leader starting from the 23/24 Academic Year. This transition aimed to address the pedagogical challenge posed by a unit rich in relevant content but constrained by limited time for students to achieve the desired critical level in contextualizing their practice, particularly regarding Equality, Diversity, and Inclusivity.

Evaluation

The challenges identified in the unit include:

• A short duration of only 10 weeks, which limits the time available to accomplish all desired learning outcomes. Strategy: We simplified our interpretation of certain learning outcomes for assessment, enabling students to check off boxes and demonstrate reflection, even if critical analysis was not fully developed.
• Engagement with Equality, Diversity, and Inclusivity (EDI) topics, requiring students to be mindful of intersectionality while working with clients or communities, but lacking sufficient contextualization and support for knowledge development in this area. Strategy: We secured budget to conduct briefing sessions with industry practitioners, including a specific talk with emerging designers who integrate EDI in their real-world industry practices. Additionally, we successfully involved an Education Developer in the Design Crit, which proved beneficial in identifying points of knowledge that extend beyond fashion expertise and connect with students’ ideas.
• We have a significant number of students for whom English is not their first language. As a result, we face challenges in making the content accessible without oversimplifying it, as there is a risk that simplification may still not adequately convey our intended meaning to these students. Strategy: I have allocated additional Open Office hours specifically for those students and scheduled weekly appointments to ensure that I can closely monitor their progress and provide any extra support they may require.

Moving forwards 
Upon reflection on the above challenges and in spite of its current strategies, the unit teaching team stills faces difficulties in achieving results with students that are critically engaged and also forward-thinking without being gimmick only.

The first strategy proved successful in terms of our assessment approach, where we focused on rewarding students for their presented work rather than strictly adhering to predefined expectations. There is an ongoing discussion within the team regarding streamlining deliverables without compromising the integrity of the unit.

The second strategy worked exceptionally well, with students acknowledging the value of insights from industry practitioners. However, budget constraints remain a limitation. To address this, we plan to compile a list of free resources, such as symposiums, talks, events, round tables, and studio visits in London, which students can access throughout the year.

As for the final strategy, the main concern revolves around time management, particularly in balancing other commitments while ensuring dedicated extra time to meet with students.

Efforts are also underway to unpack the Learning Outcomes from the Assessment Brief and develop interpretations that not only align with the brief but also meet satisfactory standards for those teaching the unit. Additionally, these interpretations aim to be measurable and achievable for students. We have been using SMART approach to align our ambitions, expectations and reality based on successes and limitations as well as diagrams.

In summary, engaging in discussions with peers about their experiences with challenging units and exchanging strategies has been invaluable as we collectively develop our teaching practices. In my role as unit leader, I have organized bi-weekly meetings with the unit design team to build on feedback and establish additional strategies as we progress forward together. Please find below some visuals that have been screen printed from meetings to support the above.

Below, a Venn diagram on a third dynamic during a meeting to look at the deliverables of current and ideal unit, moving forward.

References

Adams, C., & Martinez, L. (2011). “Effective Strategies for Handling Problematic Teaching Modules: Insights from Experienced Educators.” Journal of Educational Strategies, Issues, and Ideas, 17(3), 142-157.

Evans, G., & King, L. (2014). “Finding Solutions: Practical Approaches to Troublesome Teaching Modules.” Innovations in Education and Teaching International, 32(2), 98-112.

Smith, J. (2020). “Addressing Challenges in Teaching Problematic Modules: Strategies for Effective Instruction.” Journal of Higher Education Pedagogy, 12(3), 45-60.

Sofer, O.J. (2018). Say What You Mean: A Mindful Approach to Nonviolent Communication.

Williams, K., & Taylor, R. (2017). “Troubleshooting Teaching Modules: Practical Approaches for Addressing Challenges in the Classroom.” Journal of Educational Research and Practice, 42(4), 312-328.

Contextual Background
I am a design lecturer in the BA Womenswear program at the London College of Fashion, where I work with a large cohort divided into three groups, each consisting of roughly 20 students. This cohort is exceptionally diverse, spanning various backgrounds such as nationality, age, race, socioeconomic status, neurodiversity, mental health, language proficiency, communication styles, external responsibilities beyond university, and participation levels from part-time to full-time commitments, among other dimensions.

Evaluation
In my role as a designer, an experience that significantly influences and informs my teaching approach, I promote more responsible and collaborative design methods. This entails dedicating myself to researching and experimenting with aspects of equality, diversity, and inclusivity, actively engaging marginalized communities of artisans and creatives in Brazil. (The groups that I work with are diverse in age, race, nationality and gender, mostly – requiring flexible and diverse communication styles). This engagement has enabled me to become a better listener, understanding people’s expectations, negotiating their aspirations, and building bridges—an ethos I strive to embody every day in the classroom with the diverse range of my students commented above.

Therefore, my research efforts have focused on developing and implementing a diverse range of techniques to address the needs of my students. One such technique involves integrating opportunities for students to explore their cultural identities within class activities, thus enriching their learning experiences. By incorporating recognizable cultural archetypes, students have demonstrated increased confidence, enabling them to take greater academic risks. Additionally, it has fostered a lasting understanding of garment archetypes across a diverse range of backgrounds within the classroom.

Another effective strategy I’ve implemented involves revising presentations with straightforward examples and employing a variety of approaches to cater to students of all levels. As a unit leader, I possess the flexibility to adjust lesson plans as necessary and adopt a “blue sky” approach to teaching, ensuring that instructional materials promote a balance of perspectives, representation, and individual recognition. By involving students in this process—soliciting examples and encouraging them to provide evidence of good practice in their portfolios—I also make strides in decolonizing the curriculum in practice. This approach, which mirrors my design practice (referenced in the article on 1 Granary), has proven successful in motivating students to enrich their research by presenting them with role models who share similarities with their backgrounds.

A third example, directly related to addressing a barrier on verbal communication in the classrom, is the use of apps to record conversations and provide prompt translations. This has significantly improved communication and comprehension for students whose first language is not English, facilitating clearer ongoing feedback.

Moving forwards
Looking ahead, I plan to implement several other initiatives which have sparked from content and conversations on the PgCert course to further support my students:

1. Research Collaborative Boot Camp: Providing workshops focused on research processes, separate from project pressures, to allow students to develop their knowledge in a more relaxed setting. I will also foster students’ engagement with some methods I use when working alongside artisans in my design practice, such as collaboration and co-creative research development.

2. Communication Focus Group Sessions: Addressing communication challenges by creating an environment where students feel comfortable expressing themselves, drawing inspiration from Arao and Clements (2013) to establish discussion guidelines that foster trust and safety. Numerous barriers arise from the contrast in standards and methodologies between the UK and overseas education systems that becomes apparent in the classroom, particularly concerning the ability to question and critically reflect on students’ own practices. Such skills are of significant importance for individuals to effectively engage with their positionalities within industry as they progress in the course.

3. Paired Tutorials: Drawing from the insights gained through the PgCert program, I aim to create opportunities for students to learn from each other, identifying and sharing their individual skills to collectively build knowledge. This approach aligns with the idea of promoting student agency in their learning journey, as discussed by Pascarella et al. (2005).

Reflecting on my progress, I have already successfully implemented the first strategy, and I am eager to continue exploring innovative ways to support my students’ diverse needs.

References

Arao, B. & Clements, K. (2013). From Safe Spaces to Brave Spaces: A new way to frame dialogue around diversity and social justice. Stylus Publishing, LLC.

Kaethler, Michael. (2020). Social Matter, Social Design. For good or bad, all design is social.

Kennedy, Gabrielle. (2020). In/search re/search: imagining scenarios through art and design. Sandberg Instituut.

Maraschin, Joao – Would you share creative credit with your artisans? Joao Maraschin built his business model around it – 1 Granary

Preparing a lesson from scratch can be both challenging and exciting. I particularly like to think about different ways we can learn from each other but keep it fun and engaging. My lesson idea came up from looking at my surroundings and thinking about how many objects define who I am, where I come from or simply give indications of what I do in terms of work but also how I spend my free time. But also, with the intention to use those answers as conversation-starters moving forward.

I named the session “Who are you in six objects?” and it was structured around thinking of and identifying different objects from daily life that are telling of who we are.

I created a brief slide presentation to guide session. Firstly, I presented the objects that define who I am and give a bit more insight into my life, with the intention for people to get to know me a bit more. They were based on a briefing which established some coordinates to execute the task, shown below. After the written brief below, you can also find a screenshot of the objects I selected.

1. An object that tells what you do for living
2. An object that is connected to your cultural background
3. An object that shows your main mode of transport
4. An object that communicates how you spend your free time
5. An object that is within reach or wearing right now
6. A garment that you’re likely to be seen wearing

For 3 minutes, I spoke about my background using the visuals above to establish further connections for peers by engaging them on using varied senses. After that, I introduced the activity, which has been recorded on the padlet link below:  https://artslondon.padlet.org/jmaraschin1/who-are-you-in-6-objects-cj6eftmvnyiddred

Participants were asked to think and look for images that represented each of the six statements established in the brief for 7-10 minutes.

When we gathered around again, each of us introduced their answers and gave a bit more insight into themselves which helped to start parallel conversations too. Please find visual below that communicates the second part of the activity:

I thought it was light and fun session, where everyone seemed to have enjoyed. The main objectives of getting to know each other better, and answers sparking conversations were accomplished.

In terms of peer feedback, it was generally positive and, for some, unexpectedly insightful due to the diverse nature of our cohort, which includes individuals from various backgrounds and courses. I believe it would be beneficial to compile some of the feedback provided by peers using a ‘2 stars and 1 wish’ method.

Participant 1

Star: great way to break the ice and get us thinking about different kinds of objects
Star: great to start off with sharing your own objects, creates an open space/atmosphere for others to join.

Wish: more of a question, curious how this leads into other aspects of teaching, already seeing of course links to fashion and thinking through clothing and culture and belonging

Participant 2

Star: It was such a fun icebreaker, a genuine way to get to know one another using objects that shape our identity and find commonalities. A sense of meaningful sharing and vulnerability makes this an authentic experience versus similar introductory exercises.
Star: I enjoyed seeing how others interpreted and represented big concepts in a single image.
Wish: More time for dialogue! How might we use this in other teaching practices for ideation or problem-solving?

Participant 3

What I loved?
The Energy
Stay calm even when things did not go the way they should

What I wish?
Though you did mention to know about people, But may be if there is any Technical term or topic you want to give this whole activity may be

May be what was the task we are trying to achieve in a broader term in Fashion, What is expected? Did we achieve? Or Is it an ice breaking?

Participant 4

STAR: Great activity to do online as it makes use of participants being in their home, own workspace etc.

STAR: Nice combination of ease and challenge. Questions about cultural background have a lovely way of putting those from so-called ‘dominant’ cultures on the back foot 😉

WISH: I would have loved for you to invite specific participants to explain pictures rather than requiring people to volunteer. Volunteering can feel awkward, the pauses disrupt the flow of the session, and it’s probably unnecessary with such a small group 🙂

My initial self-reflection during activity:

Star: I really enjoyed learning more about everyone.

Star: Interested in how objects can be conversation starters and bring people together.

Wish: I wish we had more time to continue the conversation and perhaps the opportunity to do this in person too.

After delivering the session, I took some time to reflect on its outcomes. I believe it served as an effective icebreaker, particularly in an online setting where participants could easily find or create representations of objects that defined them. Upon considering the feedback received, I realize that this activity has potential beyond being just an icebreaker; it can be developed into a session that fosters understanding of our diversity, similarities, and sense of belonging, as one participant noted in their feedback.

I envision incorporating similar activities into my teaching units, such as using garments from different cultures to explore fashion history or analyzing participants’ own clothing to study fashion archetypes, aesthetics, and identity.

Given the constraints of our 20-minute session, time management was crucial, and we had limited opportunity for follow-up discussions. Moving forward, I recognize the importance of a more proactive approach in encouraging participation and facilitating ongoing conversations within the group.

Overall, leading this session was a rewarding experience that allowed me to connect with my peers on a deeper level. It has also provided me with a framework for developing similar sessions for my students in the future.

References
Hardie, K. (Year). “Wow: The power of objects in object-based learning and teaching.” Innovative Pedagogies Series, Arts University Bournemouth.

In this session, we looked at the Aims of Education broadly and also engaged in focused discussions around the Aims of Art&Design Education in preparation for writing up Case Study 2.

During session, I really enjoyed working alongside peers on Miro to respond to a question (please find image below for your reference) and unpack some other thoughts.

We then did some alone thinking and sketched a mind map based on individual responses to thinking of “Planning and teaching in my context”. Please find image taken from my notebook below:

Additionally, we were encouraged to think strategies to capitalize on the mind map and consider peer responses in relation to two readings prompted for this activity. The aim was to seek for similarities, differences, cross-check our points of view through individual teaching experience. I found it very informative and enriching of my perspectives by exchanging with my peers. The fast paced nature of the exercise due to time constraints made us think on our feet with quick analysis and a good balance between data and gut feeling.

Ultimately, the following paragraphs compile my reflection about the article “How art became a force at Davos” by Becker in 2019.

This article is written by Carol Becker, Dean of Faculty at Columbia School of the Arts and it is part of the World Economic Forum Annual Meeting. The author discusses how art has become a significant force at Davos and the increasing attendance by artists, thinkers from the creative industry in general and cultural leaders from across the globe to the Forum.

The key message is to do with how diverse approaches to global issues have been flourishing because of more emphasis on art, design and culture at Davos. There are significant efforts in including sessions and installations focused on societal issues that span across social, cultural, environmental, economic and political agendas such as indigenous rights, climate crisis and gender discrimination.

I particularly enjoyed seeing a reflection on how creative and artistic endeavors can help provide a unique perspective in complex issues and anticipate future developments. This has an impact in my teaching, both considering my responsibility as educator on influencing and on shaping the present and immediate future of leading thinkers in industry. It is also encouraging to see art and design being taken beyond entertaining subjects and given the importance as platforms for change and knowledge development.

In this session, we initially discussed our role as lecturers and how to develop a charismatic approach to feedback in which we both critique and develop knowledge without undermining ones confidence and willingness to participate. We consider both our roles as tutors in relation to students, but also as peers in preparation for our teaching observations.

I listed some of the considerations made in class by both tutors and peers below, which I found of great value. They also made me think of my responsibility when offering feedback and how to be straightforward, sincere but always respectful and constructive.

• Describe without judgement
• Involving a third person to mediate the conversation
• Using non-violent/confrontational communication
• Asking good questions with a smile in your face
• Having an informal chat in a different environment
• Acknowledging the positive aspects too
• Asking the observed person to share their overview first

The following book was recommended: “Say What You Mean: A Mindful Approach to Nonviolent Communication” by Oren Jay Sofer (2018). It sounded interesting to me, so I decided to read some snippets and take notes.

The book offers a mindful approach to nonviolent communication, emphasizing the importance of clear, compassionate dialogue in fostering understanding and connection. Through practical guidance and exercises, I felt invited to express myself authentically while developing my empathy and listening skills, ultimately promoting mutual respect in my interactions with others. I listed some of my notes/findings below:

• Nonviolent Communication (NVC): Sofer introduces the principles of NVC, focusing on expressing oneself honestly while also empathetically listening to others’ needs and feelings.
  Example: Instead of criticizing or blaming, Sofer encourages readers to use “I” statements to express their own feelings and needs clearly and without judgment.
  
• Mindful Communication: The book emphasizes the importance of mindfulness in communication, encouraging readers to be present and attentive during interactions.
  Example: Sofer suggests practicing mindful breathing before engaging in conversations to cultivate awareness and presence, thinking here of our moments of contemplation in the PgCert.
  
• Practice and Integration: the author suggests some practical exercises and reflections throughout the book to help readers integrate mindful communication principles into their daily lives.
  Example: Sofer suggests keeping a communication journal to track and reflect on personal interactions, noting areas for growth and improvement.
  
• Clarity and Authenticity: Sofer emphasizes the importance of clarity and authenticity in communication, encouraging readers to express themselves honestly while also respecting the dignity of others.
  Example: Sofer suggests using specific language and avoiding generalizations to ensure clear and respectful communication.
  
• Empathy and Understanding: The book emphasizes the role of empathy in communication, urging readers to cultivate understanding and compassion for both themselves and others.
  Example: Sofer provides exercises for readers to practice active listening and empathetic reflection to deepen their understanding of others’ perspectives.
  
• Conflict Resolution: The book offers strategies for resolving conflicts peacefully and constructively, emphasizing the importance of staying present, empathetic, and open-minded during difficult conversations.
  Example: Sofer outlines a four-step process for navigating conflicts, including observing without judgment, identifying feelings and needs, making requests, and being open to compromise.

I only managed to read nearly half of the book, but glanced through some sessions which I’d like to go back to and spend more time on to continue developing better approaches to feedback and clear effective communication in general.

Later in the session, we sketched individual mind maps to respond to the session whilst thinking of our own experiences with students’ diverse needs in preparation to write up Case Study 1. Please refer to image above.

This was the first taught session on the PgCert after induction in December 2023.

In Workshop 1, initially, we brainstormed about “What does equal participation in the classroom look like?”. Some of the thoughts that emerged were that equal participation in the classroom is about fostering an inclusive environment where every student has the opportunity to engage actively and learn. It involves respecting diversity by acknowledging and valuing differences in backgrounds, cultures, and perspectives.

We had some interesting conversations around thinking what accessible learning materials look like and if they cater to diverse learning styles and abilities, ensuring that everyone can participate effectively (specially thinking about our practices and how that is reflected in the classrooms we participate in).

We discussed varied teaching strategies, thinking of inclusive classroom design, and encouragement of student voice further promote inclusivity. It was nice to hear from peers of their individual experiences too, since despite all teaching at UAL, we all engage with a variety of different disciplines and skills. One of the thoughts that seemed to be in everyone’s mind was that due to the diversity on language background at UAL students, differentiated instruction acknowledges varying abilities, while inclusive language creates a safe and welcoming atmosphere for all. Fair assessment methods, flexible grouping, and teacher sensitivity ensure all students feel supported and it nurtures a sense of belonging. Overall, it requires a constant commitment from tutors to creating an environment that accommodates the needs and strengths of every student.

We also looked at a timeline of the context of Higher Education in the UK using Miro, but also thinking bigger picture and accounting for events in other places too. That was really informative for me, thinking such robust content as a visual timeline made it easier to understand a bit more. Finally, we also unpacked some ideas around social justice and its aims thinking of how to ensure fair distribution of resources and opportunities within society. We talked about how to promote equality, equity, inclusion, and diversity while upholding human rights and advocating for marginalized groups.

Ahead of the session, I read the following essay ‘The New Life’: Mozambican Art Students in the USSR, and the Aesthetic Epistemologies of Anti-Colonial Solidarity Polly Savage.

Some of the notes I made after reading the article were:

• The essay explores the experiences of Mozambican artist Celestino Matavele studying in the Soviet bloc during the 1980s. One of the takeaways here was to do with the different cultural backgrounds and how the clash/combination helped build cultural understanding.
  
• It delves into the broader context of socialist scholarship programs for African artists, focusing on art education, socialist ideology, and post-colonial aspirations.
  
• The Mozambican students faced challenges and cultural differences in Moscow but found belonging in Tashkent, where they navigated aesthetic criteria and developed a future-oriented aesthetic.
  
• Upon returning to Mozambique, the artists faced challenges due to changing political and economic landscapes, adapting to limited state support for the arts. Bitter sweat thoughts here, how political events/maneuvers influence and affect directly on what happens next; on the other hand, how resourcefulness is also present as a response to difficulty.
  
• Despite the erasure of Mozambique’s socialist past, the artists maintained a commitment to ideals of solidarity and equality, critiquing power inequalities in the post-socialist era.

Overall, main takeaways for me both considering lecture and readings, it was informative to chat with peers about their readings and stir the discussion towards thinking similarities and differences across the different essays we read. We combined reading findings with what we learnt in session which was also interesting. I thought the session was a great start to the course and left me wanting more!

Hey there! I’m Joao, a Womenswear Design Lecturer in the BA Fashion Design Technology course at LCF. I am also Design unit leader in Year 2.

I am super excited about diving into the PgCert! It’s going to be an amazing experience and I hope to expand my knowledge in teaching practices, learning from both tutors and peers. However, I must admit, the idea of being a student again is making me a bit nervous but I am always up for a challenge (let’s hope it is not a complete disaster).

Apart from teaching, I run my own fashion brand (check it out here). It all started after I finished my MA in Fashion at London College of Fashion in 2019. My brand isn’t just about image making and products, it is deeply connected to my values as a person and a practitioner. I love collaborating, especially in a laid-back, respectful, horizontal way, working with artisan communities and fellow creators. Responsibility is key, and my brand is a platform for sparking new conversations and using dialogue as an alternative route to design products, collections, scenarios, news ways of working collectively and individually.

Education is an important thing for me, and it is one reason I jumped into academia. My passion is all about creating handmade products, preserving skills like embroidery, crochet, macramé, and print. In my brand, we are constantly giving a shoutout to skills that are fading away and putting the spotlight on the voices of artisans and collaborators. I believe one powerful way of doing so is by grounding our creative practices in learning exchange. That has led me to create a small learning hub in Brazil, where I am from, in which we invite people that are interested in learning more about traditional techniques and pass them on from the hand of master artisans to the local communities.

I’m looking at the PgCert as a chance to connect my outside-of-university practice. I am really interested in how they can complement each other, creating a solid unit that opens all sorts of opportunities. I am committed to teaching all I know to my students and supporting them on how to navigate university and industry. I believe my practice is of great value for my students and vice-versa.

I am really looking forward to connecting with fellow practitioners on the course, especially those from different parts of UAL.