Blog Post 1: Disability

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Ade Adepitan, in his interview with Paralympics GB, highlights that people’s disabilities don’t limit them, but instead its the societal barriers and discrimination surrounding them. This aligns with the social model of disability, which suggests it’s society,not impairment, that disables people.

“What makes people disabled is not their disability… it’s society. Society is what holds us back; it’s that systemic discrimination and oppression” (Adepitan, 2020).

He also says, “I intersect disability and race, so I see discrimination from both angles.” (Adepitan, 2020). Intersectionality—how overlapping identities, like race and disability, shape someone’s lived experience in complex and compounding ways. For Adepitan, these intersections lead to visible, public experiences of exclusion.

Christine Sun Kim’s work as a Deaf artist made me reflect on my own practice. In her Art21 interview, she describes her life as lived through “echoes” – navigating through translation and interpretation. She talks about being a Deaf mother and artist in Germany, and how state-supported structures enable her to function in both roles. Kim’s experience shows how supportive structures can reduce barriers. (It was a striking contrast compared to Adepitan’s experience – and between the two videos addressed how support structures can create or reduce opportunity.

Fig. 1. Christine Sun Kim ‘if sign language was considered equal we’d already be friends.
(Matt Rowe, 2019)

Kim’s idea that “size equals visibility” resonates – who is visible in my studio? Is my teaching making enough space for diverse needs and identities?

Chay Brown, a neurodiverse, trans, gay man, talks about how some identities are “invisible”—and while this may lessen the discrimination he faces in public, it can also make it harder to be recognised and included. His reflections underline how intersectionality isn’t always about what’s seen, but also about what’s missed.

“It’s to do with listening to disabled people and being willing to be told ‘actually you could have done this better’” (Brown, 2023).

This echoes the principles of Universal Design for Learning (UDL), discussed by Glass, Meyer, and Rose (2012), who argue that inclusive approaches benefit everyone—not just students with declared needs.

“What is critical is not to make education more accessible to students with disabilities… but to ensure that UDL options and alternatives are exercised broadly” Glass, Meyer, & Rose, (2012, p. 117).

In my role, I demonstrate complex sewing techniques using a pinned camera. I’ve realised my handouts no longer match the delivery, which disadvantages students who need or prefer written instructions. I’m updating those and adding closed captions to videos, reflecting UDL principles and shifting the burden off students to adapt.

UAL’s Access and Participation Plan notes an attainment gap for disabled students, reminding me that inclusivity isn’t optional—it’s essential. Being inclusive isn’t about getting it perfect, but about being open to feedback and willing to change. Recognising intersectionality, embedding UDL, and following the social model of disability helps me design a learning space that doesn’t just work for some—but works better for all.

Bibliography

Adepitan, A. (2020). ‘Ade Adepitan gives amazing explanation of systemic racism’. Interview with Ade Adepitan. Interviewed by Nick Webborn for Paralympics GB, 16 October. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 25 April 2025).

Brown, C. (2023). ‘Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023’. Interview with Chay Brown. Interviewed for Parapride, 13 December. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc (Accessed: 25 April 2025).

Glass, D. Meyer, A. and Rose, D. (2012) Universal design for learning in the classroom: practical applications. New York: Guilford Press.

Kim, C. S. (2023) ‘Christine Sun Kim in “Friends & Strangers” – Season 11 | Art21’. Interview with Christine Sun Kim. Interviewed for Art21, 1 November. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI&t=1s (Accessed: 25 April 2025).

University of the Arts London, London College of Fashion (2025) Access and Participation Plan 2025-26 to 2028-29. London. Available at : Access and Participation Plan 2025-26 to 2028-29 (Accessed: 03 June 2025)

Image Bibliography

Fig.1 Rowe, M. (2019) Christine Sun Kim’s ‘if sign language was considered equal we’d already be friends. Available at : Christine Sun Kim; If Sign Language Was Considered Equal We’d Already Be Friends; Art Night 2019 image courtesy Matt Rowe – Mentoring and Coaching for Creatives(Accessed: 03 June 2025)

Blog Post 4: Universal Design for Learning

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I have been exploring pedagogical methods that align with my teaching practice. Universal Design for Learning (UDL), explained in Universal Design for Learning in the Classroom: Practical Applications by Glass, Mayer, and Rose (2012), resonated strongly.  UDL promotes flexible teaching strategies to accommodate diverse learning needs, ensuring that all students have equal opportunities to succeed, and to be able to participate in class. The framework is structured around three key principles:

  • multiple means of engagement (fostering motivation and participation),
  • multiple means of representation (ensuring accessibility of information), and
  • multiple means of action and expression (supporting varied ways of understanding).

Glass, Mayer, and Rose (2012, p.103) state. ‘The UDL provides a systematic way to review and evaluate curriculum design for accessibility and flexibility.’ This structured approach is relevant to my teaching because I aim to create an inclusive learning environment within my workshops and supervised studio sessions.

The students have a range of diverse learning needs, and I want to ensure that they can all actively participate in workshops, through flexible communication and engagement methods. Instead of providing accommodations only for students with learning differences, I ensure that the additional learning materials are available to all. This approach prevents students from feeling ‘singled out’ while ensuring that everyone benefits. ‘’What is critical is not to make education more accessible to students with disabilities, as has often been argued, but to ensure that UDL options and alternatives are exercised broadly across the whole range of students.’’ Glass, Mayer, and Rose (2012, p.117)

The additional learning materials (Handouts with drawings, Panopto videos) are sent the week before the workshop along with instructions for what we will be doing in class. This helps to ensure that all students know what to expect from our time together. During class, I ensure that every student has one on one time with me, and an opportunity to ask questions directly, instead of across the classroom, which some students can find uncomfortable or anxiety inducing. I can also demonstrate what we are currently working on in a way unique to that students’ needs at that time.

An inclusive environment also means fostering meaningful relationships with students to understand their needs. I engage with students on a personal level, so can adapt my teaching strategies in ‘real time’. Students are met where they may be on that day, and I work to ensure that they are able to participate to whatever degree that might be. ‘To be effective in a more inclusive, more demanding teaching environment, arts educators will have to be more responsive to individual differences by recognizing the variation in difficulties that their students will have and addressing them in productive ways’’ Glass, Mayer, Rose (2012, p.104) This adaptability ensures that students remain engaged and empowered in their learning.

Implementing UDL can be difficult – some students may not engage and need further scaffolding, adaptive language, or a different method. I am going to create an anonymous survey, asking for feedback regarding the workshops. Students can confidently express how they found the workshop anonymously, allowing me to reflect, address feedback, and continue to be flexible in my approach to teaching. This aligns with UDL’s focus on multiple means of representation.

References

Glass, D. Meyer, A. and Rose, D. (2012) Universal design for learning in the classroom: practical applications. New York: Guilford Press.

Blog Post 3: Reflective practice

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Lesley Raven delivered a thought-provoking lecture on reflective practice and developing personal and professional insights. We created a ‘map of self’ – working from ontology – epistemology – reflexivity, to explore how reflection shapes our teaching. The exercise encouraged me to consider how my own reflective practice informs my role as a Specialist Technician, and how I can refine my workshops to ensure my delivery remains dynamic, but also aligned with learning outcomes.

L. Raven identified five epistemologies of ‘reflective practice’:

  • ‘Creative practice,
  • Academic practice,
  • Practising practice,
  • Demonstrating practice, and
  • Expanding practice’.  Raven (2005)

My work aligns most with ‘creative’ and ‘practising practice’; my approach is hands-on, evolving through making and doing.

Reflection is not just a solitary process; it can also be collaborative. Brookfield (1995, p.39) states: ‘‘We become more aware of issues of power and control in our classrooms. As students or colleagues point out to us unwittingly oppressive aspects of our actions, we start to think more deliberately about the creation of democratic classrooms.’’

This resonates with me- I want to create a democratic, inclusive learning environment where students feel heard, and where feedback is actively used to shape my teaching. Ensuring that students and peers feel comfortable contributing their thoughts is essential in creating a more collaborative and responsive learning space.

To keep my workshop delivery flexible and effective, I integrate “Reflection-in-Action” and “Reflection-on-Action” (Raven, 2005). Reflection-in-action occurs during demonstrations, I adapt my approach based on student engagement, while reflection-on-action takes place afterwards, allowing me to review and refine my methods. One practical way I apply this is through continuous updates to teaching materials. Each year, the BA Fashion Contour and BA Fashion Sportswear team collaboratively annotates handouts and samples based on our observations during workshops. After some time, we revisit these notes to assess whether changes are needed in patterns, fabrics, instructional flow, or machinery use.

I also invite peers from other specialisms to participate in the workshops. In BA Fashion Contour, we make bra samples. We use different machinery and have unique methods of make, different to those on a more ‘generalised’ course, such as BA womenswear. I also like to take part in my peers’ workshops, so we can continue to review and reflect not just on our own practice, but each other, and continue to build and foster a strong teaching community within the garment department. 

Student feedback is another crucial aspect of reflective practice. Amulya (2004, p.1) highlights the importance of perspective-taking in learning:

“The key to reflection is learning how to take perspective on one’s own action and experiences – in other words, to examine that experience rather than just living in it.”

Reflection is an ongoing process that requires curiosity and adaptability. By staying open to feedback and continuously refining my practice, I can ensure that my workshops remain effective, inclusive, and student-centred, fostering an environment where both educators and students learn and grow together.

Reference list

Amulya, J. (2004) What Is Reflective Practice. Centre for Reflective Community Practice, Massachusetts: Institute of Technology.

Brookfield, S. (1995) Becoming a Critically Reflective Teacher. San Francisco: Jossey-Bass Inc.

Raven, L. (2025) ‘Reflective Practice’ [Presentation slides]. Developing personal and professional insights. Available at: https://moodle.arts.ac.uk/mod/folder/view.php?id=1378604  (Accessed : 30 May 2025).

Case Study 3: Assessing learning and exchanging feedback

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Contextual Background. 

I am a Specialist Technician: Learning and Teaching for BA Fashion Contour at London College of Fashion. In my role, I provide technical support to students as they create their final garment outcomes. Technicians are not included in the toile crit sessions. Students approach me afterwards with queries they have after the crit, and I’ll advise them how to update their patterns and garments.

Evaluation.

Students often don’t have their notes of what was said during their critique, but they’ll summarize key changes and ask me how to achieve the intended outcome. Currently, I support them separately from the academic team, working with the students understanding of what needs to be adjusted to improve the final garment outcome. The separation between academic and technical input can sometimes create mixed messages, with different perspectives on how to refine the garment.

This can cause confusion and complications from the real purpose of formative feedback—helping the students learn and develop by identifying strengths, weaknesses, and giving them clear, constructive guidance.

Moving forwards.

Moving forward, I plan to collaborate closely with the academic team, ensuring that a member of the technical team is present during toile critiques. This will allow us to work together—academics, technicians, and students—to develop a structured approach that enhances garment outcomes. By doing so, we can ensure that formative assessment is clearly understood by students while fostering a more cohesive and supportive learning environment.

As a technician, I spend evenings and weekends with students during supervised studio sessions. While I do not teach workshops during this time, I am available to answer questions, repair machines, and maintain an efficient workflow. My role allows for more informal, one-on-one interactions with students compared to the academic team, as I am consistently present in the workspace.  ‘’Close contact with teachers, or a special teacher, also has an impact. Students who make it all the way through despite their background often attribute this to an individual teacher acting as a kind of mentor who took an interest in their progress.’'(Gibbs, p. 206). By participating in toile critiques, I can better understand the feedback given on garment improvements, allowing me to mentor and support students through their revisions with a clear grasp of the required adjustments.

Since toile critiques take place at the mid-point of the term and are not graded, the feedback provided is formative. ‘Tutorials also generate huge quantities of feedback on assignments… most of it immediate, oral, and highly personalised feedback. All of this assessment is ‘formative only’- for learning and most assuredly not for marks. (Gibbs, p.197). My involvement in these critiques will enable me to suggest appropriate construction techniques and methods suited to both the students’ skill levels and the specialist machinery available. This ensures that the personalised oral feedback is both practical and achievable, allowing students to confidently approach their work.

Ultimately, students must be able to interpret feedback and implement changes independently. ‘These discursive situations prompt critical thinking and self-evaluation and develop the language of the discipline.’ (Orr, Shreeve, 2017, p.94). By taking part in toile critiques, I will gain a deeper understanding of the academic team’s expectations, allowing me to step in and provide targeted support during supervised studio sessions, helping students bridge the gap between critique and execution.

References (additional to word count) 

Gibbs, G. (2015). Maximising Student Learning Gain. In H. Fry, S. Ketteridge, & S. Mar-shall (Eds.), A Handbook for Teaching and Learning in Higher Education (4th ed., pp.193-208). Abingdon: Routledge.

Orr, S. and Shreeve, A. (2007) Art design pedagogy in Higher Education: Knowledge, Values and Ambiguity in the creative curriculum. London: Taylor and Francis Group.

Case Study 2: Planning and teaching for effective learning

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Contextual Background. 

I conduct technical workshops that focus on demonstrating methods for constructing contour-based garments, with students actively participating, replicating the techniques to complete their own sample. The primary learning outcome is to equip students with a foundational understanding of industry-standard sewing practices, enabling them to apply and demonstrate these skills in their final garment projects.

Evaluation.

The students have varied sewing experience, which makes it challenging to find the right pace that works for everyone. I deliver a 15-minute demonstration, and then give the students 45 minutes to copy the steps they have witnesses. During that time, I walk around, checking in with every student.

If a student is caught up and waiting for next steps, I introduce more advanced techniques to keep them engaged. Students who need extra help get more one-on-one guidance, whether that’s through verbal encouragement or an additional demonstration. The more experienced students complete their projects within class time, while others might need to use studio hours outside of class to wrap things up. This setup gives everyone the support they need while keeping the workshop flowing smoothly.

Moving forwards.

I want to further explore how I can ‘scaffold’ students who need additional support and time but also allowing more experienced students to engage with advanced techniques. ”Hussey and Smith (2010) argue that the most appropriate response to diversity is a flexible approach that enables transition from dependent to autonomous learning.’’ Bamber and Jones (2015, p.153)

To facilitate this, I will create handouts and sample packs covering basic and advanced sewing methods. These resources will allow students to learn at their own pace, in class or supervised studio sessions. This approach encourages autonomous learning at any skill level while ensuring that a technician is available to provide support and scaffolding when needed.

This strategy will also help manage the workload of technicians, who often struggle to provide individualized attention due to time constraints and the number of students requiring assistance simultaneously. Preparing instructional materials means that students can independently revisit the methods demonstrated in class or learn more advanced methods at their own pace. ‘’What needs to happen is that the students are supported and feel confident in their own learning, so that they don’t hang around the corridors waiting to see already overloaded tutors with a vague sense that somehow, the tutor holds the ‘right answer.’” Brooks, (2008, p.4)

I aim to foster independent learning whilst ensuring that students who require one-on-one support can seek help as needed. I want to cultivate a social learning environment where students support one another, enhancing collaboration. ‘‘Students create a social learning environment discussing amongst peers and enabling the tutor to explore progress and work and to hold group or individual tutorials.’’   Orr and Shreeve (2017, p.90)

With these resources readily available in the sewing studio, students can independently revisit techniques when constructing their final realized outcomes. As a technician, I do not dictate to students how they should create their final submission garments; it is a collaboration. A technique learned in the first year may need to be revisited in the final year, and having a readily accessible ‘catalogue’ of methods empowers students to refresh their knowledge. This approach fosters autonomy in decision-making and helps eliminate hierarchy in the workroom, allowing all students to take ownership of their learning.

References.

Bamber, V. and Jones, A. (2015) A Handbook for Teaching and Learning in Higher Education. Edited by H.Fry, S.Ketteridge, and S.Marshall.Abingdon: Routledge.

Brooks, K. (2008) “Could do better? Students’ critique of written feedback,” Networks. eprints.uwe.ac.uk.

Hussey, T. and Smith, P. (2010) The Trouble with Higher Education: A Critical Examination of our Universities. New York and London: Routledge.

Orr, S. and Shreeve, A. (2007) Art design pedagogy in Higher Education: Knowledge, Values and Ambiguity in the creative curriculum. London: Taylor and Francis Group.

Case Study 1: Knowing and responding to your students’ diverse needs. 

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Contextual Background:
I deliver technical workshops to year 1&2 BA Fashion Contour. I demonstrate how to make a sample to industry standard, and the students create their own. The purpose of the workshops is to understand industry standards, which is implemented in their final garments independently.

I teach students with diverse needs. For this case study, I am going to focus on language diversity.

Evaluation:

I email the week before class, so students know what equipment to bring, and what to expect in class, with the handout attached. This allows the students to prepare physically and mentally and can be engaged and ready to participate in class. This allows students who do not speak English as a first language to digest the information ahead of time, at their own pace.  I allow the students to record demonstrations so they can play back as and when they need.

I want to slow down the number of steps delivered during demonstrations. We have recently updated our sessions from 2 x 3.5-hour classes to 3 x 3.5. I think that by delivering less steps, breaking up the demonstrations, and accommodating comfort breaks, this will help the students to stay engaged.

Moving forwards.
Every student is unique and has their preferred method of learning. I want to champion ‘Universal Design for Learning’ and ensure that my workshops are as varied as the student’s needs. ‘’In the past two decades, neuroscience has demonstrated that learners are highly variable in the ways they learn and that this variability is the norm, not the exception.’’  Glass, Mayer, Rose (2012, p.99).

I want to continue to offer multiple strategies to access the learning material in a manner of ways, to accommodate all students’ needs in a way that best suits them; ‘’the most appropriate response to diversity is a flexible approach that enables transition from dependent to autonomous learning.’’ Bamber and Jones (2015, p.153).

In BA Fashion Contour, we use complex and unique words to describe how to construct a bra. Clarity is important to ensure that all students understand the task at hand. ‘One important consideration when teaching international students is the clarity of explanations. This means providing a clear outline of what is required, providing models of successful practice, and aligning objectives with teaching and assessment.’ Bamber and Jones (2015, p.154). I will create a glossary of terms with photos and drawings to ‘scaffold’ students with language diversities. This will be attached to all weekly emails for ease of access, and allow them to build on their language, confidence, and ability to participate wholly in workshops.

Embracing ‘Universal Design for Learning’, all students within the class will be able to access this with ease, ensuring that everyone can pull from this document when required. I want to make sure that all supplementary information is easily accessed by all, regardless of diversity.  

‘’What is critical is not to make education more accessible to students with disabilities, as has often been argued, but to ensure that UDL options and alternatives are exercised broadly across the whole range of students’’ Glass, Mayer, Rose (2012, p.117)

References. 

Bamber, V. and Jones, A. (2015) Challenging students: Enabling inclusive learning In H. Fry, S. Ketteridge, & S. Mar-shall (Eds.) A Handbook for  Teaching and Learning in Higher Education (4th ed., pp.152-168). Abingdon: Routledge.

Glass, D. Meyer, A. and Rose, D. (2012) Universal design for learning in the classroom: practical applications. New York: Guilford Press.

Hussey, T. and Smith, P. (2010) The Trouble with Higher Education: A Critical Examination of our Universities. New York and London: Routledge.

Peer Observation -3: Observation of my teaching practice by my Tutor 

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Session to be observed: 27th February 2025 – Technical workshop. Basque part 2, BA Fashion Contour year 1 group B., 9.30am – 12.30pm.

Size of student group: 20

Observer: Karen Matthewman

Observee: Jade Gellard

 
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session within the curriculum?

I am delivering the second part of a three – part workshop, where I demonstrate how to make a Basque, and students complete their own sample for hand in to be assessed.

How long have you been working with this group and in what capacity?

This is a 1st year class – September 2024. 5 months.

In the capacity of delivering the groups technical workshops.

What are the intended or expected learning outcomes?

The intended learning outcomes:

  • Students learn new construction techniques.
  • Students can take this and apply it to their own samples if suitable.
  • Deepening the understanding of patterns, notches, and the language used for garment construction.
  • Practicing using the specialist sewing machines required for contour to improve their overall garment finish.

What are the anticipated outputs (anything students will make/do)?

The students follow along and complete their own Basque sample as part of their hand in requirements for block 2. The sample will not be completed until the following week, as there is a lot of sewing to be completed.

Are there potential difficulties or specific areas of concern?

There is sometimes a ‘bottle neck’ of students requiring specialist machines at the same time. This can cause queues, or machinery breaking from speed and change of hands, resulting in long wait times. This can mean that students are not able to keep up with the demonstrations.

My students have varying degrees of skill and use on a sewing machine. This can make it hard to balance the flow of the room, so that students aren’t waiting for the next steps, or are unable to keep up with the speed of the demonstration.

How will students be informed of the observation/review?

Students will be notified via their weekly email. The week before, I send an email to remind students of what to expect in the next session, and what materials/ equipment to bring along.

I will check that everyone is comfortable, explain that the observation is part of my own hand in, and that there is no need to behave in a different way.

What would you particularly like feedback on?

The general atmosphere of the room. I want my sewing workshops to be encouraging, warm, and inviting.

I want the students to be actively listening, engaged, and comfortable. But is this actually the case?

Is my language clear and concise?

Are all students treated equally, with no unconscious bias?

Is the flow and speed of the workshop suitably paced?

How will feedback be exchanged?

Through the ROT form and email.

Part Two

Observer to note down observations, suggestions and questions:

This was a retrospective reflection on practice.

Jade and I met online to discuss her recent session. This session had been seen by Jade’s peer and she had received detailed feedback and reflection on the session, so we decided to look in a more holistic way at implications of this session for Jade’s broader teaching context, as I hadn’t seen the session.

We discussed at the beginning Jade’s comment about the shortage of specialist machines that sometimes causes a bottleneck to students moving forwards with their projects. I reflected that I had noticed this happening in another session with a technician and that a student got quite agitated about not being able to proceed and kept pacing backwards and forwards in front of the machine, which would obviously not be good for the student themselves or the student that must have felt a bit intimidated by this.

Jade said that this happens only very rarely, and she discussed various strategies. One was a talk they have around respect and sewing hygiene- a mix of etiquette and safety which Jade gives them early in their time with her. She also points out to the students that those around them are their future colleagues and collaborators- this section of fashion is a very small world! They establish clear ways of working which includes giving people space. She also notices different students’ capabilities and helps them get on with different tasks according to that, so that the space flows optimally and means not everyone is at the same stage at the same time.

Jade values the small group that she is working with, which enables her to really get to know students, how they work and their strengths and weaknesses. We talked about the importance of having a sense of belonging and building a community of practice. The fact that Jade is not involved directly in summative assessment means that she is able to build good relationships with students not affected so much by traditional teacher power relations.

This led to talking about Jade’s approach to her pedagogies, and what we described together as creating a democratic space. Jade tries to disassemble hierarchies and show that she is on the same learning journey as her students, but just that her skills knowledge is further along. We talked about some of the theories behind this philosophy. I mentioned bell hooks, who Jade is enjoying reading. I said that maybe she could look at some other feminist pedagogies which really focus on that noticing and reconstructing power differences.

This led to some discussion about the importance of peer learning in studio. I mentioned Vygotsky, scaffolding and zones of proximity for learning. Jade said that one area of difficulty was students whose first language is not English sometimes don’t understand all the technical language and that sometimes their peers will help them. I suggested she investigate creating a glossary of key words that might help build students’ technical vocabulary. Jade seemed really enthusiastic about that idea and looked to try it in the future.

It was an interesting and fruitful discussion, where we were able to unpick some of the common issues and situations Jade encounters in general and in particular in this session, and some strategies that Jade currently uses and will think about using in the future, while also reflecting on theory that might help that.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

It was nice to talk to Karen regarding my workshop. It was an interesting conversation that has certainly helped me to reflect on my practice and take actions going forwards.

I have learned through discussion and research that I am very invested in universal design for learning, co-teaching, and scaffolding students until they are competent.  It has been really encouraging to find out that my teaching is appropriate, researched with positive results, and defined.

I am going to work on making a glossary with key terms, photos, and QR codes linking to Moodle to help students who may prefer to watch video links.  I agree with Karen that this will certainly help students whose first language is not English. It will also be useful for students with additional learning needs, as it will help them to be self-sufficient and refer to the glossary when they are stuck.

I would still like to explore the ‘bottlenecking’ that I experience with my workshops. A discussed above, we require lots of machinery to make a contour sample. Its unavoidable sometimes to have the bottleneck, particularly if we have one machine needed at the start of the workshop, for example, a twin needle wire casing or babylock, and every student needs that to be able to continue with their sample. I am going to work on adjusting the workshop delivery- I would like to investigate if I can move the order of assembly around. If I can, I will focus on the bottle neck spots and try place this part of the workshop halfway through the delivery. I have students who are at different capabilities of sewing, and this will mean that as a class, we are more likely to have a better flow as some students will complete the sample faster than others. As opposed to all students waiting to use the specialist machinery at the same time, at the start of end of a session.

I’m really enjoying reading Bell Hooks and will continue to source her writings as a means of inspiration. I’m going to investigate Vygotsky and ‘scaffolding’ as I would like to learn more about this, and further implement it in my teachings.

Peer Observation -2: Observation of my teaching practice by my peer

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Session to be observed: 27th February 2025 – Technical workshop. Basque part 2, BA Fashion Contour year 1 group B., 9.30am – 12.30pm.

Size of student group: 20

Observer: Grace O’Driscoll

Observee: Jade Gellard

 
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session within the curriculum?

I am delivering the second part of a three – part workshop, where I demonstrate how to make a Basque, and students complete their own sample for hand in to be assessed.

How long have you been working with this group and in what capacity?

This is a 1st year class – September 2024. 5 months.

In the capacity of delivering the groups technical workshops.

What are the intended or expected learning outcomes?

The intended learning outcomes:

  • Students learn new construction techniques.
  • Students can take this and apply it to their own samples if suitable.
  • Deepening the understanding of patterns, notches, and the language used for garment construction.
  • Practicing using the specialist sewing machines required for contour to improve their overall garment finish.

What are the anticipated outputs (anything students will make/do)?

The students follow along and complete their own Basque sample as part of their hand in requirements for block 2. The sample will not be completed until the following week, as there is a lot of sewing to be completed.

Are there potential difficulties or specific areas of concern?

There is sometimes a ‘bottle neck’ of students requiring specialist machines at the same time. This can cause queues, or machinery breaking from speed and change of hands, resulting in long wait times. This can mean that students are not able to keep up with the demonstrations.

My students have varying degrees of skill and use on a sewing machine. This can make it hard to balance the flow of the room, so that students aren’t waiting for the next steps, or are unable to keep up with the speed of the demonstration.

How will students be informed of the observation/review?

Students will be notified via their weekly email. The week before, I send an email to remind students of what to expect in the next session, and what materials/ equipment to bring along.

I will check that everyone is comfortable, explain that the observation is part of my own hand in, and that there is no need to behave in a different way.

What would you particularly like feedback on?

The general atmosphere of the room. I want my sewing workshops to be encouraging, warm, and inviting.

I want the students to be actively listening, engaged, and comfortable. But is this the case?

Is my language clear and concise?

Are all students treated equally, with no unconscious bias?

Is the flow and speed of the workshop suitably paced?

How will feedback be exchanged?

Through the ROT form and email.

Part Two

Observer to note down observations, suggestions and questions:

The general atmosphere of the room.  

The atmosphere of the room was very warm and friendly while still being professional and productive. This was especially apparent as students arrived and were all greeted individually then issued brief encouragements on getting organised with any equipment and materials needed, and to check their sewing machines. 

A noticeable factor was several very clear reminders of Health and Safety that Jade took time to include, both at the beginning of the session and again when the students started to work on their pieces. These were detailed and clear, so their importance was well communicated. Jade then demonstrated this importance in real time when the fire alarm went off, communicating to students that this was not an expected test and so to evacuate immediately and calmly, and stating “I am switching the power to the machines off now”. I found this very impactful as in the library we often find students will wait a few minutes to see if the alarms stop and are quite reluctant to evacuate – Jade’s immediate approach was instructive, and I felt a very useful life skill for students to see demonstrated. 

Inclusive practice was shown through genuine concern for a student who arrived and reported attending despite feeling unwell, with encouragement to leave if not feeling well enough to persist and Jade giving clarity about ways to catch up on the content. 

Active listening and engagement

The setup of the room was excellent, with a camera trained on the sewing machine as Jade worked through the exercise. Students were observed to be watching the screen carefully, with one student recording the tutorial and others taking detailed notes. Most had their materials and progress to date in front of them and could be seen glancing at the relevant pieces to ensure they understood the steps and instructions. 

Jade was very careful with the camera placement and took time to zoom or re-position at regular intervals, ensuing that the images on screen were optimised to show as much detail and action as possible. This showed real concern for inclusion of all students who may be more visual learners and for those who may miss out on fine details otherwise. 

Clear and concise language

Jade’s language and pace were very clear and succinct, she repeated some phrases at intervals which really helped their importance to sink in; for example, explaining about the right / soft side of the materials, the placement of notches and the seam allowances, so that there was no chance to miss vital basics amongst the specific task instructions. Jade also checked and referred to her written list of task instructions which added clarity and reassurance that every step was covered. As an observer this was also a good reminder to myself to think in a step-by-step approach, so I think this would also be conveyed to students. I didn’t see any students with a copy of the step-by-step list Jade had and I wondered if it would be helpful to hand out a printed copy of a version of this for those that might benefit from a tick-list (its possible students had a digital or printed copy that I didn’t see). 

One other thing I think the room would benefit from in addition to the camera and screen setup is a mic. Jade projected her voice really well across the room well despite being sat at a machine doing close work, however she was at times in a position of needing to verbally explain while also looking down towards her sewing. A mic could be turned on to make it easier to project at a clearer volume in this situation. 

All students treated equally

All students who arrived before the session start were greeted and welcomed to the room. Something I noticed particularly was that students arriving later were not commented on, and their arrival was not mentioned. I found this very inclusive practice – we don’t know the reasons students might run late, and they might already be feeling stressed or anxious and may not be ready to interact. This is something I will try to remember in future, I’ve tended to try to smile and say hello which gets repetitive.

At the point where students were starting to work independently on their pieces Jade spoke to a student who may have missed the previous session as they were getting started on, rather than progressing their item. Jade offered them an alternate route of steps so that they could align with the session on the day, and then complete the previous steps independently to get the best out of the taught content without rushing their work and risking errors. Again, I found this to be an inclusive and compassionate approach. 

Following the demonstration part of the tutorial Jade walked the room several times stopping to check on each student’s progress and confidence as they worked on their task, helping students who needed support and answering questions. This 1:1 checking approach ensured that everyone got equal access to help and time without having to call Jade over or approach her, which some students might be less comfortable to do. 

Another noticeably inclusive element was Jade’s recognitions of more challenging or particularly tricky elements of the task. I find this especially important in elements of teaching or training where expertise is involved or assumed. Some students can write themselves off as ‘not good at’ certain skills, whereas they are actually just less experienced or less practiced. Jade used the phrase “even though I have been sewing a million year this is still something I have to double check / do slowly and carefully”. I found this a really inclusive and encouraging turn of phrase.

Flow and speed of the workshop pace

The workshop flowed very well, it was very clear that it was a ‘next steps’ workshop and the pace was very productive.  A noticeable element was the clear communication of time allowances. This flowed through from before the start when verbal reminders of ‘5 minutes and ‘two minutes’ to start were given. For the student’s hands-on element, a 45 minute allowance was clearly communicated at the start, then when 15 minutes had passed this was notified and Jade confirmed ‘you have 30 minutes, lots of time left’ which again was really encouraging, helping students to avoid rushing and making errors. 

Also, near the end of the first set of instructions before the independent working time Jade checked with the group whether they had taken on enough information and wanted to make a start on the hands-on element or whether she could add a little more before starting – the group wanted to make a start before any more content and Jade listened to this and adjusted her lesson plan which was very responsive and student-centered. Perhaps one reminder to students to ask for any help needed as Jade walked the room would have reassured anyone who is shy, but if the class already know their technician well this is probably not needed.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

It was lovely to meet Grace and have her observe my session. It was a shame that we were interrupted by a fire drill, but in hindsight it was great that she could also observe how I handle such a situation. Fire drills, accidents, etc. all happen in our day-to-day delivery, so it was a rare opportunity to have that observed and addressed.

I’m glad to read that the rooms atmosphere was warm and inviting. I take time to get to know all my students on a personal level, so I know how they would like to be spoken to. Before class, I write to the students on the group email, telling them what to expect from the coming class, and to let the team know if they are going to be late or absent. This means that often I know in advance if the students are going to be late or absent, I can accommodate that, and not draw attention to it when they come to class late. Its important to me that everyone is always able to join us without being embarrassed or accused of being late.

I believe that the strength of technicians is that we can know our students on a more personal level. We do not mark the students work, there is no need for hierarchy, we often learn together as we work out a complex method of make. We are always on the workroom floor available for their queries and needs. I really enjoy the relationship I can have with my students; we embed respect and patience in their first year through our induction workshops, and this strengthens and grows as we spend more time together.

I agree that a microphone would be useful for the room. It’s a large space and I do have to project my voice quite loudly. If I have two classes back-to-back, I can end up quite hoarse at the end of the day. A microphone would help to prevent that.

I used to provide handouts for the students, but as part of my efforts to reduce paper waste, I attach the handout digitally on my ‘week before’ email. This way, students can access the information before class, which helps them to feel prepared, and if they choose to, they can then print this out themselves. In the past I would find handouts scattered across the workroom, discarded as soon as they were not deemed useful. I now find that students have a digital copy that they will refer to in the future when they are trying to remember a particular method of sewing for their final garments. This has been beneficial for the environment as well as encouraging independent learning, helping to reduce the question queue in supervised studio times.

However, I should make a point to have a few handouts available on different colored paper for the students who may have additional needs. It is not easy for them to print on and access yellow paper, and in hindsight this was an oversight of mine. I will ensure to have yellow paper copies in the future to ensure that all students needs can be met efficiently and swiftly.

It was lovely to read that Grace felt my practice was inclusive. I particularly enjoyed that she observed that I checked in with every student. I have found in the past that if I sat back and waited for the students to approach me, some of the quieter students may not feel comfortable asking questions, and then continue with the sample although there are mistakes. To work around this and ensure that every student has access to me to ask questions, I explain to the students at the start of our workshops in September that I will be walking around and checking in with them all individually during our sessions, but they are also welcome to ask for help at any time. This has helped me to catch more mistakes and help to check everyone is always being health and safety aware.

However, I do agree with Grace that I could be more vocal and ask the group ‘Does anyone need help, is everyone okay?’ More often, as some students may wait for me to approach them as they feel uncomfortable asking for help. Asking the question may help me to gain eye contact from a shy student who needs help but isn’t comfortable speaking up, or a student who may feel like it is rude and is ‘waiting for their turn’

Going forwards I will:

  • Ask the AV team for a mic to ensure that my voice can be heard across the workroom.
  • Ensure I have yellow handouts for students who may be otherwise unable to access the content required for class.
  • Ill ensure to be more vocal and ask students frequently ‘Does anyone need any help’ to catch any mistakes before they escalate and are unable to be undone on the sample.

Peer Observation – 1: Observation of a peer’s teaching practice

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Size of student group: Approx 400 students

Observer: Jade Gellard

Observee: Grace O’Driscoll

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session within the curriculum?

I have been working towards making library sessions more embedded with units on Camberwell Fine Art courses. As the cohorts are so large there have not been library sessions in-course for some years which leaves the students under-supported in how to conduct basic academic research, how to reference, and how to use the library efficiently – which drives a very high (unsustainable) number of 1:1 support requests. I have now recorded these asynchronous sessions for unit Moodle pages to combine with very short introductory time slots in the cohort weekly meetings.

How long have you been working with this group and in what capacity?

I have not seen these groups, and they have had no other library teaching, since their Year 1 week 1 Welcome Week induction. I will produce a similar but slightly more advanced set of video resources for unit 8 in Year 2 and again for unit 9.2 in year 3  – and will see them at their weekly meetings hopefully again one time for each of these units to introduce, explain and take questions around the video resources.

What are the intended or expected learning outcomes?

The intended learning outcomes:

  • Students are confident to use the library either in person or online or both and know how to ask for help if needed.
  • Students are empowered to undertake basic image and text research using keywords / search terms and can develop a list of target terms to research.
  • Students understand the limitations and pathways entailed in using the UAL library search pages.
  • Students are equipped with some good start points for their research including recommended bibliographies, Cite Them Right Online, confidence on when and how to approach their Academic Support Librarian for help.

What are the anticipated outputs (anything students will make/do)?

Students will use the library resources to support their Unit 7 essay research and referencing.

Are there potential difficulties or specific areas of concern?

The main concern is that students won’t watch the videos in full or will dismiss the need for library based research and rely on Google, which negatively affects attainment potential.

How will students be informed of the observation/review?

As these are asynchronous resources there are no students present in real time.

What would you particularly like feedback on?

The level of engagement – these skills can seem quite ‘dry’ compared to a lot of UAL teaching but get consistently very positive feedback in terms of usefulness in 1:1 sessions. Fine Art at Camberwell have disengaged from the library over some years and so this is now quite a new concept for the students to re-engage with as important to their attainment and efficiency.

The level of detail – I will have the opportunity to edit the video tutorials and I will also be creating a new set for unit 8 and so it would be great to hear where it seems repetitive or over / under detailed.

How will feedback be exchanged?

Through the ROT form and email.

Part Two

Observer to note down observations, suggestions and questions:

Across all videos:

It was very useful to have the contents, captions and discussions at the side of the Panopto video to help click through and find what part of the video is needed. I think that students who are looking to answer a particular question will be able to find what they need easily.

There was a clear outlined contents page, and you explained what to expect from the videos. This helps to engage the student and ensure that they are watching the right video for their query.

Your demonstration was clear and concise, but it could have been slowed down. It was quick, and I couldn’t see the examples of books as the screen blurred. 

Demonstrating in ‘live’ time helped to concrete the learning outcomes. It was engaging and familiarised the learning outcome of the video.

Yr 2 library refresher video

The captions helped me to follow along when the pace was too fast.

The slide deck was very informative. The ratio of text and picture was visually appealing.

The most important information was written, and you were then further explaining this verbally where necessary.

I couldn’t click the links on the screen– but that could be because it was a recorded session? I would like to suggest QR codes alongside to help students link up outside of the session, or the links in the comments, if that is possible.

It was nice to hear you ask students to pause the video and ‘google’ ‘ual library search’ to get them to embed the learning outcomes and make them feel comfortable with that the catalogue looks like.

Your explanation of the Dewey system was very clear and easy to follow. Using ‘call number like a post code’ was a simple and effective way to visualise how to use the Dewey system appropriately.

Closing the PowerPoint with ‘top five things to remember about UAL libraries’ was a nice finish. It was warm and friendly, which tied up the library refresher well.

Yr 2 research skills

At the start, you made it clear what the learning outcome is from the video, and what to expect from the unit 7 Moodle page.

There were engaging images and text on the screen while you were sharing further information. There were brightly coloured examples, and they help retain attention.

There was a demonstration and recap page at the start of the demonstration to help embed the learning.

Including and mentioning assistive technology to comfortably get through reading, was inclusive and mindful of the diverse needs of students.  

There was quite a lot of information across all three videos. Whilst I appreciate that there is a contents page and students can access the part they need, would cutting up the video into its sections at 5-10 minutes long help to keep the students attention?

Referencing for unit 7

This slide deck isn’t as colourful or engaging as yr2 library refresher video / yr 2 research skills, until the image referencing at the end. Is there a way to make the beginning of the slide deck more vibrant?

Some of the text on the quotes was quite small, and hard to read. Maybe there could be a digital handout to supplement this video? I watched the video on my phone, so it was very hard to read.

Explaining how to Harvard reference now and clarifying that it will be needed in further units helps to establish that this is important information, and the student should pay attention.

You addressed common queries throughout the video, anticipating and eliminating any confusion. It was clear you are well practised and knowledgeable and know where students may have further questions.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Part Three
Reflection on the observer’s comments and how I will act on the feedback exchanged:

Jade commented that ‘demonstrating in ‘live’ time helped to concrete the learning outcomes [but] it could have been slowed down It was quick, and I couldn’t see the examples of books as the screen blurred, and that the ‘pace was too fast’. This is definitely something I can address in future sessions, I have also been reading about the value of the ‘debrief’ and I think on some of the very essential elements I should recap over some points before moving on.

Another comment ‘I couldn’t click the links on the screen…QR codes alongside to help students link up outside of the session, or the links in the comments, if that is possible’. This is a really helpful suggestion – I have newly been uploading my sessions to Panopto and these are some of the first that I have explored more of the functionality. I will investigate – I know I can’t make the links on the main screen live but hopefully I can make them live in the captions. I can also add QR codes, hopefully as clips in these videos and also in future ones. In response to this I also added QR codes linking to key resources in my in-person sessions which has been really well received with lots of students using them in sessions.

Jade questioned whether ‘cutting up the video into its sections at 5-10 minutes long help to keep the students attention?’. Shorter videos have been requested by the courses and unit leads – cutting this into three sections has been in response to a really long research tutorial I had posted for Unit 9.2 in Autumn term. This feedback is really helpful as I had assumed this was already granular enough, For unit 8 this year and unit 9.2 upcoming next year I am going to try and make a set of shorter more focused videos with one key skill in each.

Another insight that the referencing ‘slide deck isn’t as colourful or engaging’ was insightful – I tried addressing this in some recent in person sessions by looking at more visual referencing first, including Social Media examples. This was really helpful and kept student’s attention more that starting with books and journals which are more commonly used but less interactive.

Jade observed that ‘some of the text on the quotes was quite small, and hard to read. Maybe there could be a digital handout to supplement this video? I watched the video on my phone, so it was very hard to read’. This is something I definitely need to address. My slides in general follow accessibility guidelines but there are a couple I have re-purposed from shared sessions that don’t. It will definitely be worth the small amount of additional workload to re-work these slides to make sure they are fully legible.

Links to the tutorials and slide packs:

Library Refresher re-introduction, recorded tutorial and slides pack (for links to resources)

Research Skills introduction, recorded tutorial and slides pack

Harvard Referencing introduction, recorded tutorial and slides pack

Blog post 2: Object based learning.

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I have to deliver a twenty-minute micro teach to peers, evidenced around ‘Object based learning’. Hardie writes about ”a matter of taste activity” (Hardie, 2015, p.6). Hardie encourages students to engage in experiential and active group learning through object analysis. Students work in small groups to examine artefacts, analysing function, target audience, etc. Hardie focuses on personal taste and asks students to question why they find an object appealing.

I decided that my ‘object’ would be a selection of bras from my archives. My peers will look at and assess the bras together, to understand how the lace/embroidery is positioned, cut and applied. I will then show the participants how to demonstrate the lace placement to a manufacturer, to ensure that the garment is as visioned on the design, as per industry standards.

We are early into our PG Cert journey together; I wanted to ‘break the ice’ as I was the first person to deliver in my session.  ‘The use of objects in small group work at the start of a course can offer a valuable ice-breaker activity as learners focus on items while developing social interaction with their peers’’ (Hardie, 2015, p.20)

I invited the participants to pick their favourite artefact from the selection. I asked them to explain why it appealed to them to the wider group. I participated in the exercise to provide an example, and to help make the group feel comfortable sharing. The task bonded the group before moving on to completing the learning outcome – individual lace/ embroidery placements.

Choosing the placement is a ‘matter of taste’; each designer/ technologist will have their own preference on how the lace/embroidery should be positioned. By talking about why they selected that artefact, and how it makes them feel, we learn how important choosing the correct placement is to ensure a bra has appeal to the market. By interacting with the objects, students enhance their understanding of taste, reinforcing their ability to analyse design beyond functionality.

‘’I invite students to appraise the objects in relation to notions of taste that they have studied earlier in the curriculum; to explore what they feel about the object and if they find the object appealing and in what ways?’’ (Hardie, 2015, p.6)

Going forwards in my teaching, I will implement Hardies suggestions around ”a matter of taste”(Hardie, 2015, p.6). Hardie explains that often in a learning environment, or in a museum, ‘‘the physical handling of the object is denied’’.  (Hardie, 2015, p.4). By offering the participants to feel, touch, and sense the artefacts, this gave a well-rounded and memorable learning experience.

This is something I will practise in my workshops. I have started to curate a small archive to refer to during class, to show students further examples of how a particular construction method can be used in multiple ways, furthering their understanding of complex sewing techniques. I hope that this will help to strengthen independent learning; seeing multiple examples across multiple samples will help to connect learning outcomes to fully realised final garments.

References

Hardie, K. (2015) ‘Innovative pedagogies series: Wow: the power of objects in object-based learning and teaching’ P.6