Category: Theories, Policies, & Practices

“Support is a type of relationship between people, objects, social forms, and political structures, in the same way that participation, or conflict, are other forms of relations; each proposes a specific mode of operation, language, and further relations. Support allows a particular investigation in how we might work together toward change, and becomes critical in allowing a form of political imagination to take place, both as a position and a practice; it invites readings and inhabitations of relationships between power structures, social realities, and institutional forms. There are many forms of support, but nothing is inherently supportive just as nothing is inherently conflictual” Condorelli, C. and Weizman, E. (2007). ‘Support, Participation and Relationships to Equity’, in (ed.)

Miessman, M., The Violence of Participation. Sternberg Press.

The global fashion industry is undergoing a significant shift, and the way that we interact with it is changing. For centuries, we have industrialised the earth’s resources and presented fashion through a western lens, associating its influence with beauty, power, and wealth. However, we live in a time where that paradigm is evolving, and we need to utilise our design thinking to problem-solve for the future.

When reflecting upon by peripatetic role throughout this course so far, I have been introduced to Arturo Escobar and his theories surrounding design theory and 
practice. The term “design consciousness” (Escobar, A., 2018) has been particularly inspirational for me as it revalidates my approach towards education and teaching-style. I do agree that as educators and practitioners, we have a responsibility and the opportunity to channel the act of making and designing towards solutions that are in tune with the planet and the people that inhabit it.

The term “radical educator” has come up regularly throughout the theory I have been referencing. Having taught at various levels within a range of institutions, never have I felt more “radical” than now. Joining a faculty world-renowned for promoting the ‘next big thing’ seemed like the right decision to make however, through practice it seems as though the infrastructure that the fashion courses are built upon are outdated, with more established lecturers being resistant to change.

Moving forward on the course, I am intrigued to read more of Escobar’s background and theories in relation to pedagogy. I hope that his theories, alongside others who speak of ecology and anthropology, will help to evidence my “radical” ideas of how to reinstate cultural relevancy into the course.

Response: 01/03/2023 I completely agree with you in terms of seeking validation in achieving a high grade can ultimately fight against the freedom and immersion of self-discovery of your own creative practice. The fact that we work/study creative subjects within a capitalist structure (i.e. a University business model) means that the pressure upon staff and students to achieve high grades (and societal validation) can ultimately affect the way in which we teach, and the way in which the students learn about themselves. Meaning, that judgement is made with a marking criteria, with comparison of students against each other. ‘Success’ as a concept is instilled within creative practitioners, I feel, because ultimately the work that we make is always being judged by someone, at some level. Perhaps if we approached teaching (and grading) in more collaborative ways such as peer-assessment and contractive feedback as well as peer-peer-afirmations, would help to deconstruct the societal viewed instilled upon us of what “high achievement” is. In reference to Gloria Dall’Alba’s theories in “Improving teaching: Enhancing ways of being university teachers”. This would allow us to remind ourselves, and those we teach, that judgement of creative outcomes is subjective.

This PGCert session that took place at LCC on 22nd February, was a particularly memorable session for me so far.

The session focused on the values and ethics of teaching, relating to the Climate and Social Justice policies instated by UAL this year. I was enamoured with the collective feelings surrounding this subject matter. Being so closely linked to my role and my practice, the session gave me a new-found alliance amongst other practitioners experiencing similar restraints and struggles within their field.

As part of the afternoon session, Lindsay asked us to form groups and conduct an activity dependant upon our understanding of the Embedding Climate, Racial, and Social Justice’ Guide for course teams. Our group collectively decided to re-write the framework, and reimagine a ‘ideal’ methodology that could be applied moving forward. We did not finish the activity during the session however, I have completed this below:

> Define principles

Problems Identified with the current framework: Tokenistic, greenwashing is present, a choice is presented rather than a necessity, policies are theoretical, should consider the four lenses: Social, Cultural, Environmental, Economic Sustainability.

• BASELINE SHIFT– Acknowledging Sustainability
• Baseline will be the shift: this is to acknowledge the urgency of these issues presented.

1. AWARENESS CONVERSATION – Teaching about Sustainability

FOUR REQUIRED UNITS:

• Environmental Unit – Material Awareness Unit as necessity. 
• Cultural Unit – Cultural Exchange Project
• Economic Unit – No money used – eliminating student financial hierarchy/abilities.
• Social Unit – Collaborative Unit

• IDEATION – Teaching for sustainability
• All design studios will be circular in their approach. 
• Reality of process – choice and impact
• Manifesto of Make 

•  SHIFT INDUSTRY TRANSFORMATION – Exchange as sustainability
• Influence within industry.
• Knowledge exchange

Work out a process for stakeholders and who to involve
Student Agreement signed upon arrival. 
Application process. 

Hello, I am Matthew Needham, the Sustainability Lecturer for Fashion Design at Central Saint Martins School of Art & Design, London. My role is programme-wide and I teach across all BA, MA and Graduate Diploma pathways.

By studying this PGCert, I am aiming to understand more about my own teaching practices and through exploration, realise contemporary forms of teaching practices that aim to modernise fashion education in the UK.