Kimberlé Crenshaw’s theory of intersectionality provides a framework for understanding disability as shaped by overlapping systems of identity and power (Crenshaw, 1989). Disability is not experienced uniformly; experiences are influenced by factors such as race, gender, socioeconomic status, language, and institutional structures. Reviewing short films and interviews with disabled individuals demonstrates how these intersections can intensify inequality and exclusion.
One example that stood out was a Black woman with a physical disability who described experiencing both ableism and racial bias within healthcare. She felt her pain was frequently dismissed, reflecting wider inequalities faced by Black patients. Illustrating how race and disability can intersect to create compounded marginalisation, where support and care may be denied in ways white disabled individuals may not experience. Another example involved a working-class neurodivergent student who struggled to access diagnosis and support because of the costs of private assessments and long waiting lists in public systems. Without an official diagnosis, the student could not access accommodations, negatively affecting both education and self-esteem. Gender also shapes lived experiences of disability. A woman with a chronic illness described how expectations around caregiving and productivity intensified feelings of guilt and inadequacy, highlighting how gender norms influence perceptions of disability differently for women.
The resources on invisible disability further developed my understanding of intersectionality by showing how non-visible conditions are often misunderstood or overlooked. Not All Disabilities Are Visible (TEDxBrum, 2017) and Hidden Disabilities (Soton Students’ Union, 2026) highlighted the pressure many students feel to “prove” their disability in order to access support. Moriña (2024) argues that disclosure can be difficult within systems that fail to recognise invisible conditions, often resulting in exclusion and isolation.
Christine Sun Kim’s Friends and Strangers (Kim, 2020) demonstrates how institutional systems privilege spoken language and hearing culture. Drawing on Pierre Bourdieu’s concept of cultural capital, educational spaces can be understood as environments where dominant forms of communication are rewarded (Bourdieu, 1986). Verbal critique often privileges confidence and fluency in academic language, positioning students who communicate differently as less capable. Pierre Bourdieu describes this as “symbolic violence”, where institutional norms appear neutral while reproducing inequality. This made me reflect on how my own teaching may unintentionally prioritise spoken communication, disadvantaging students with different communication needs.
Across the interviews, recurring themes included invisibility, misunderstanding, and a strong emphasis on resilience and self-advocacy, although this often came at a personal cost, including exhaustion and burnout from continually having to explain or justify their needs. Perspectives on disability identity also varied, with some participants embracing disability as central to identity, while others focused more pragmatically on navigating barriers.
In my teaching context as Course Leader for Hair, Make-up and Prosthetics for Performance BA, these insights highlight the importance of inclusive and proactive approaches. UAL data suggests students from minoritised backgrounds may be less likely to disclose disabilities because of stigma or limited trust in institutional support. As an educator, I need to create an environment where students feel safe to disclose disabilities without fear of judgement. This includes offering flexible teaching methods, resources in multiple formats, and varied assessment approaches. I must also remain aware of intersectional barriers, such as language challenges for international students or limited access to technology for lower-income students. Applying an intersectional framework encourages more inclusive teaching that recognises diverse lived experiences while challenging institutional inequalities.
References
Pierre Bourdieu Bourdieu, P. (1986) ‘The forms of capital’, in Richardson, J. (ed.) Handbook of Theory and Research for the Sociology of Education. New York: Greenwood Press, pp. 241–258.
Kimberlé Crenshaw Crenshaw, K. (1989) ‘Demarginalizing the intersection of race and sex: a Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167.
Moriña, A. (2024) ‘When what is unseen does not exist: disclosure, barriers and supports for students with invisible disabilities in higher education’, Disability & Society, 39(4), pp. 914–932.
Soton Students’ Union Soton Students’ Union (2026) Hidden Disabilities Available at:
Kimberlé Crenshaw’s concept of intersectionality offers a way of understanding faith through interconnected systems of identity, power, and inequality. Kimberlé Crenshaw (1989) argues that experiences cannot be understood through a single category such as religion, race, or gender alone, as these identities overlap and shape experiences of inclusion and marginalisation. Faith is therefore experienced differently depending on factors such as race, gender, class, migration status, and the institutional environments people navigate. Reviewing short films and academic sources demonstrates how these intersections can intensify stereotyping, exclusion, and inequality.
Kwame Anthony Appiah’s talk Is Religion Good or Bad? (2014) argues that religion cannot be viewed simply as “good” or “bad”, but gains meaning through the social and cultural contexts in which it is practised. From an intersectional perspective, this highlights how faith is shaped through relationships with identity and power, influencing how individuals are perceived and treated. Similarly, Trinity University’s video Challenging Race, Religion, and Stereotypes in the Classroom (2016) demonstrates how faith and race can combine to produce stereotyping, where students are treated as representatives of a religion rather than as individuals. This can affect belonging and participation within educational spaces.
Hassan Jawad (2022) explores how visible Muslim women in sport navigate both religious identity and gendered expectations in public spaces. Their visibility can lead to scrutiny, exclusion, or pressure to justify religious dress and practice. Likewise, Reki (2023) discusses epistemic injustice, where individuals from religious minorities may not be taken seriously as knowers. This can become more pronounced when faith intersects with race or migration status, meaning some voices are valued more readily than others in institutional settings. Across these sources, recurring themes include visibility, stereotyping, and the negotiation of identity within secular institutions such as schools and universities.
In my own experience as a student in an A Level English class, a peer’s strong religious beliefs shaped how they engaged with texts and discussions, interpreting ideas through a faith-based framework. They frequently felt the need to justify viewpoints in religious terms, leading to extended discussion and disagreement. While these moments created valuable dialogue, they also disrupted lesson flow and highlighted how faith can interact with classroom expectations and participation.
Coming from a mixed-ethnicity background with both Muslim and Christian heritage, I have developed an understanding of the complexities of navigating multiple cultural and faith identities. This positionality allows me to empathise with the pressure to fit in, avoid causing offence, and remain authentic and connected to faith and community. At times, I have felt obliged to behave differently in certain spaces, creating a sense that I could never fully be myself. These experiences reinforce the importance of creating inclusive educational environments where all identities are recognised and valued.
As an educator, these insights encourage me to continually reflect on how to reduce barriers and foster inclusive learning spaces where students can openly explore cultural and spiritual dimensions of their beliefs. I am reminded of something my father, who was raised within a strict Muslim tradition, once told me when I asked as a child what religion was about: “It is hundreds of doors that all lead to the same place.” This perspective has profoundly shaped my teaching philosophy and continues to guide the way I encourage respect, dialogue, and belonging within my classroom.
Kimberlé Crenshaw Crenshaw, K. (1989) ‘Demarginalizing the intersection of race and sex: a Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167.
Trinity University Trinity University (2016) Challenging race, religion, and stereotypes in the classroom. YouTube. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk (Accessed: 10 May 2026).
Reading the resources made me reflect not only on how racism is addressed in higher education today, but also on my own experiences and how they shape my perspective as an educator. As someone from a mixed ethnic minority background who grew up in London during the 1970’s and 1980’s, I recognise that my positionality influences how I interpret these readings. Race often intersected with class, with many non-white pupils, including myself, coming from lower socioeconomic backgrounds. One memory that has stayed with me is school nativity plays, where the White, blonde girls were always chosen as angels while I was consistently cast as a Roman soldier. At the time this felt normal, but looking back it reflects how ideas about identity and belonging can become embedded in education.
Campbell (2022) reminded me that these experiences do not disappear in higher education. Through the voices of racially minoritised students, Campbell shows that many still question whether their work will be assessed fairly. This challenges the belief that assessment is entirely objective and highlights how institutional practices can unintentionally privilege White, Eurocentric norms.
Bradbury (2020) provides a useful Critical Race Theory (CRT) framework for analysing education policy. Drawing on Gillborn’s (2005) questions, who drives policy, who benefits from it, and what are its effects? Bradbury encourages us to look beyond policies that appear neutral. Bell’s (1992) principle of interest convergence also suggests that progress for racialised groups often occurs only when it aligns with the interests of those already in positions of power. Together, these ideas made me question whether some equality initiatives create genuine change or simply demonstrate institutional commitment to diversity.
Garrett (2024) shows that these inequalities continue beyond graduation. Despite achieving doctoral qualifications, many racialised minority academics described exclusion from professional networks and uncertainty about career progression. This resonated with my observation of one university speaker featured in the resources. Although he appeared to be from an Asian background, he also represented middle-class privilege, reminding me that race intersects with class and other aspects of identity.
Kruse, Rakha and Calderone (2017) argue that developing cultural competency is an important step towards inclusion, while Sadiq (2023) promotes empathy and meaningful Diversity, Equity and Inclusion (DEI). These approaches are valuable, but without structural change they risk becoming superficial. Likewise, anti-racism training should move beyond a tick-box exercise to honest conversations grounded in lived experience. Although Orr’s (2022) documentary questions DEI initiatives, the evidence presented by Bradbury, Campbell and Garrett suggests that structural inequalities remain a reality. The School That Tried to End Racism (Channel 4, 2020) also demonstrates that recognising unconscious bias is an important starting point, but awareness alone is not enough.
These resources have encouraged me to think about how anti-racism can be embedded within my own teaching. This includes continuing to decolonise the curriculum, using research and industry examples from more diverse backgrounds, recognising cultural influences such as mehndi and afro and textured hair in contemporary fashion, including more ethnically diverse practitioners into teaching, encouraging students to share their own experiences, strengthening outreach in Stratford, and ensuring staff development focuses on meaningful reflection rather than compliance.
Overall, these resources reinforce that anti-racism requires both personal reflection and institutional change. Cultural competency provides a foundation, but genuine equity depends on universities critically examining who their policies benefit, whose voices are represented, and how education can become truly inclusive.
References
Bell, D. (1992). Faces at the Bottom of the Well: The Permanence of Racism. Basic Books.
Bradbury, A. (2020). A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2), 241–260.
Campbell, P. I. (2022). ‘Pray(ing) the person marking your work isn’t racist’: Racialised inequities in HE assessment practice. Teaching in Higher Education, 29(5), 1–15.
Channel 4. (2020). The School That Tried to End Racism [Video]. YouTube.
Garrett, R. (2024). Racism shapes careers: Career trajectories and imagined futures of racialised minority PhDs in UK higher education. Globalisation, Societies and Education, 1–15.
Gillborn, D. (2005). Education policy as an act of White supremacy: Whiteness, critical race theory and education reform. Journal of Education Policy, 20(4), 485–505.
Kruse, S. D., Rakha, S., & Calderone, S. (2017). Developing cultural competency in higher education: An agenda for practice. Teaching in Higher Education, 23(6), 733–750.
Orr, J. (2022). Revealed: The charity turning UK universities woke [Video]. The Telegraph. YouTube.
Sadiq, A. (2023). Diversity, Equity & Inclusion: Learning how to get it right [TEDx Talk]. YouTube.
My proposed intervention aims to promote more inclusive learning within my teaching practice by addressing barriers linked to ethnicity and socio-economic background within Wigs, Hair and Makeup (WHAM) education. This is informed by my own experience within both education and the WHAM industry. Coming from a working-class mixed-ethnic minority background, I was one of only three students on my course who was not from a white European middle-class background, and this lack of representation was also reflected in the wider college environment. When I later entered the industry as a WHAM artist, I was often the only person from a non-white, non-European, and working-class background on set or backstage.
Although the industry has made progress in diversity and inclusion, this is still more visible amongst performers and on-screen talent than within backstage technical and creative roles. Representation within WHAM teams is improving, but it still does not fully reflect the diversity seen in performer cohorts or wider society.
Recruitment retention of diverse learners for WHAM courses remains challenging for several interconnected reasons, including:
lack of representation within teaching staff, industry professionals, and course materials;
financial barriers such as high tuition fees, expensive specialist kits, travel costs, and unpaid work experience;
perceptions of the arts as financially unstable careers, particularly for lower-income students;
limited access to arts education in underfunded schools and communities;
cultural expectations and family pressures favouring more traditional or secure career paths;
lack of industry networks and insider knowledge;
feelings of exclusion within predominantly white, middle-class environments;
inaccessible or overly academic language;
concerns around discrimination, unconscious bias, or tokenism;
limited diversity in training relating to different skin tones, hair textures, and cultural aesthetics;
cost-of-living pressures that make creative careers feel financially unrealistic;
reduced confidence or self-belief due to systemic inequality and lack of representation.
To address these barriers, my intervention proposes inclusive teaching strategies that focus on accessibility, representation, and financial awareness. These include:
embedding sustainability and reuse practices to reduce financial pressure on students;
identifying and promoting affordable kit alternatives;
creating student glossaries and simplifying specialist language;
ensuring teaching reflects diverse skin tones, hair textures, and cultural aesthetics;
introducing a wider range of industry references, case studies, and practitioners;
establishing mentoring schemes with diverse alumni and professionals;
offering outreach workshops and taster sessions in underrepresented communities;
promoting bursaries, hardship funding, and financial support more clearly;
encouraging peer support, collaboration, and inclusive classroom discussion; to build confidence and belonging;
improving recruitment materials and course imagery to reflect diverse identities;
providing clearer guidance on career pathways and freelance working;
creating inclusive learning environments where students can discuss identity and barriers openly;
embedding anti-racist and culturally responsive teaching practices;
developing stronger partnerships with inclusive industry organisations;
encouraging flexible approaches to assessment and participation.
Overall, this intervention aims to create a more equitable and supportive learning environment where students from all backgrounds feel represented, confident, and able to succeed within WHAM education and the wider creative industries.
As Course Leader for BA (Hons) Hair, Makeup and Prosthetics for Performance, I have become increasingly aware that inclusive curriculum design extends beyond diversifying teaching content. It also requires creating learning experiences in which students feel represented, develop a sense of belonging and gain equitable access to opportunities that support their academic and professional success. This intervention examines the development of The Artistry Collective (London College of Fashion UAL 19/06/26). an industry engagement initiative designed to address barriers experienced by students from underrepresented ethnic minority and low-income backgrounds while strengthening links between higher education and professional practice.
Having worked in the Wigs, Hair and Makeup (WHAM) industry for almost 35 years, I have seen positive changes in representation. However, for much of my career I was often the only Hair and Makeup Artist from a minoritised ethnic background on a production. Coming from a working-class background also meant entering an industry in which many colleagues possessed professional networks and cultural knowledge that I lacked. These experiences influenced my understanding of how access, representation and belonging shape professional identity.
My educational experience reflected similar inequalities. During three years of professional training, only one session focused on working with deeper skin tones, and there was no teaching on Afro or textured hair. Looking back, I recognise that these omissions reflected broader assumptions about whose knowledge was valued within the curriculum. They also reinforced the importance of ensuring all students recognise themselves and their future profession within what they study.
Despite these barriers, I experienced a strong sense of belonging within the WHAM community. Knowledge sharing, collaboration and mutual support transcended social and cultural differences, demonstrating how inclusive professional communities can foster confidence and learning. This continues to influence my teaching philosophy, leading me to view representation, authentic industry engagement and belonging as essential components of equitable education.
Although the industry is now more diverse, applications on the course from Black, Asian and other underrepresented ethnic groups remains low. This suggests that barriers to participation still exist. Analysis of the awarding gap data suggests that the units with the strongest outcomes were those that incorporated industry engagement and knowledge exchange, particularly where students had opportunities to interact with a diverse range of practitioners and guest speakers.
Image 1: Awarding Gap Data UAL University Central Planning Unit 2024
Markus and Nurius’ (1986) concept of possible selves suggests that seeing relatable role models enables students to envision themselves succeeding in similar careers, while Strayhorn (2019) argues that a strong sense of belonging is fundamental to student engagement and success. This helps explain why the units with more diverse industry engagement appeared to have stronger outcomes, as students were able to connect with professionals whose experiences and career pathways felt more relatable.
Earlier this year I developed and hosted The Artistry Collective, (2026) a community building and skills sharing event designed to strengthen connections between education and professional practice through, collaboration, networking and celebration. Bringing together students, alumni, educators, industry professionals and brand partners, the event aimed to demystify careers in hair,
makeup and prosthetics while providing visible role models, practical learning opportunities and professional networks.
The intervention was built around three connected themes: access, representation and participation.
Access focused on widening awareness of the course for students with limited exposure to creative careers. In partnership with the University’s outreach team, local schools and colleges attended demonstrations, received portfolio advice and explored routes into higher education. Brand exhibitors also offered product knowledge and discounted materials, helping to reduce financial barriers to entering the profession. This aligns with Freire’s (1970) view that education should widen participation and empower those who have traditionally been excluded.
Representation aimed to strengthen students’ confidence, professional identity and sense of belonging. Students worked alongside industry professionals, supported live demonstrations, participated in practical masterclasses and built relationships with alumni and employers. These experiences encouraged students to become active members of a professional learning community rather than passive observers. This reflects Tinto’s (1993) argument that students are more likely to succeed when they feel academically and socially connected to their learning community.
Participation focused on creating an inclusive learning community where students could contribute and see themselves reflected within the profession. Diverse practitioners shared technical and cultural approaches to hair and makeup, while panels, demonstrations and screenings celebrated different career journeys and creative identities. Bringing together students, graduates and professionals encouraged collaboration, mentoring and belonging, reflecting hooks’ (1994) view that education should value students’ identities and lived experiences.
Together, these activities addressed multiple barriers to participation, recognising that students’ experiences are influenced by intersecting factors including ethnicity, socio-economic background, educational opportunity and access to industry. This intersectional approach aimed to create more inclusive opportunities for engagement and belonging.
The Artistry Collective also reflects wider higher education priorities around equitable access and inclusion. While one event cannot remove structural inequalities, it can create more inclusive experiences, strengthen relationships between students, alumni, schools and industry, and improve access to professional networks. Embedding the event as an annual initiative aims to support recruitment, develop professional identity and build partnerships, particularly for students with fewer opportunities to industry networks and professional experieneces
Reflecting on peer feedback (from my PG Cert group) encouraged me to think more critically about the language I use when promoting inclusion and community. As The Artistry Collective (2026) was designed to build a sense of community through skills sharing and collaboration, one colleague suggested exploring the meaning of the word community in greater depth. This prompted me to reflect on who feels included when we use this term and how language can encourage inclusion or create barriers.
The discussion also highlighted the importance of placing The Artistry Collective (2026 LCF) within wider conversations about equality, diversity and social justice. This has encouraged me to consider how future events could acknowledge broader historical and global perspectives while continuing to create a welcoming space where students, educators and industry professionals can share knowledge, develop networks and build a genuine sense of belonging.
The feedback from all the students focused on the collaboration with industry and how much they enjoyed and learnt from assisting and working alongside professional artists, and how some of them have gained work opportunities as a result of this. The informal interactive style of the panel discussions and Q&A was also something the students embraced and felt they could ask questions without judgement. Students also valued having access to professional products and materials that they would not normally be able to use because of financial constraints. Many commented that the discounts offered by brand partners made purchasing essential kit more affordable.
Students from underrepresented backgrounds reported that meeting and working alongside successful practitioners with relatable positionality was both inspiring and confidence-building. It gave them greater insight into the WHAM community and reinforced that they could see themselves succeeding within it.
These findings reinforce the value of embedding meaningful industry engagement throughout the curriculum, not only to develop employability skills but also to create more inclusive learning environments in which all students can recognise themselves within the profession and begin to develop their own professional identities.
Following evaluation of the feedback, I plan to embed this approach within the Year 2 Industry Engagement unit, an in-house project designed for students who choose not to undertake a work placement. This unit provides an opportunity to create a more authentic industry experience while ensuring that all students, regardless of their access to external placement opportunities or professional networks, can develop the skills, confidence and industry connections needed for future employment.
To strengthen the professional focus of the unit and encourage greater student ownership, I would redesign the project so that students take responsibility for planning, organising and delivering the event. Alongside developing project management and leadership skills, students would gain experience of working collaboratively in ways that reflect industry practice.
Activities would include:
Taking the lead in organising and managing the event.
Researching and inviting alumni and industry professionals, with an emphasis on representing diverse career pathways and lived experiences.
Researching and approaching potential brand partners.
Organising demonstration teams and allocating responsibilities.
Selecting the specialist skills they wish to develop and showcase.
Designing the event layout and visitor experience.
Taking on industry roles such as supervisors, designers, assistant directors and trainees.
Developing collaborations with students from other UAL courses to encourage interdisciplinary working.
Managing budgets, timelines and project schedules.
Planning rehearsals, experimentation and testing.
Leading production meetings and presenting project proposals.
Student feedback also highlighted the importance of communication skills. Asking students to contact their assigned alumni or industry professionals before the event would become a structured element of the unit, enabling them to develop confidence in professional communication while building meaningful relationships with practitioners.
Embedding these elements within the Industry Engagement unit would create a more authentic and professionally aligned learning experience, enabling students to apply their technical and creative skills within a realistic industry context (Herrington et al., 2014). By taking responsibility for planning, collaboration and project delivery, students would engage in experiential learning, developing confidence, problem-solving and decision-making skills through real-world practice (Kolb, 1984; Moon, 2004).
Importantly, this approach also has the potential to create a more inclusive learning environment. By ensuring that students engage with a diverse range of alumni and industry professionals, the unit can provide visible role models and broaden students’ understanding of who works within the creative industries. This is particularly important for students from underrepresented backgrounds, who may have had fewer opportunities to access professional networks or see people with similar lived experiences succeeding within the sector.
Image 2: NY Glorious founder of The Black face Painters Federation with model and year 1 student assistant Artistry Collective 19/06/26 LCF UALImage 3: Ny Glorious with Year 1 student assisting demonstration of face and Body Art Artistry Collective 19/06/26 LCF UALImage 4: Students assisting Alumni Artistry Collective 19/06/26 LCF UALImage 5: Alumni Melanie Bouvet with student assistants Artistry Collective 19/06/26 LCF UALImage 6: Faith Melody Afro and Textured Hair Sculptor @faiththedesignerImage 7: Faith Melody and assistant Artistry Collective 19/06/2026 LCF UALImage 8: Diverse performance group ‘Drag Syndrome’ and student Artistry Collective 19/06/2026 LCF UALImage 9: Student achievement awards Tanya Noor course leader Hair Make up & Prosthetics for Performance and Nadira V Persaud diverse skin specialist presenting to year 1 student
hooks, b. (1994) Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.
Tinto, V. (1993) Leaving College: Rethinking the Causes and Cures of Student Attrition. 2nd edn. Chicago: University of Chicago Press.
Freire, P. (1970) Pedagogy of the Oppressed. New York: Continuum.
Strayhorn, T.L. (2019) College Students’ Sense of Belonging: A Key to Educational Success for All Students. 2nd edn. New York: Routledge.
Markus, H. and Nurius, P. (1986) ‘Possible selves’, American Psychologist, 41(9), pp. 954–969.
Herrington, J., Reeves, T. C., & Oliver, R. (2014). Authentic learning environments. In J. M. Spector, M. D. Merrill, J. Elen, & M. J. Bishop (Eds.), Handbook of research on educational communications and technology (4th ed., pp. 401–412). Springer.
Kolb, D. A. (1984). Experiential learning: Experience as the source of learning and development. Prentice Hall.
Moon, J. A. (2004). A handbook of reflective and experiential learning: Theory and practice. Routledge.
Noor, T. The Artistry Collective (2026) London College of Fashion University of The Arts London
Images:
Image 1-University of the Arts London. (2024) Central Planning UnitNational Student Survey.
Image 2- Artistry Collective 19/06/26 London College of Fashion University of the Arts London. Ny Glorious with model and year 1 student assistant Artistry Collective 19/06/26 London College of Fashion University of the Arts London. (n.d.) Instagram profile. Instagram. Available at: https://www.instagram.com/nygloriousfacearts/ (Accessed: 15 July 2026).
Image 3- Artistry Collective (19/06/26) London College of Fashion University of the Arts London NY Glorious with model and year 1 student assistant (n.d.) Instagram profile. Instagram. Available at: https://www.instagram.com/nygloriousfacearts/ (Accessed: 15 July 2026).
Image 4- Artistry Collective (19/06/2026) London College of Fashion University of the Arts London, students assisting alumni.
Image 5- Artistry Collective (19/06/2026) London College of Fashion University of the Arts London Alumni Melanie Bouvet with student assistants Bouvet, M. (n.d.) Instagram profile. Instagram. Available at: https://www.instagram.com/melaniebouvet/ (Accessed: 15 July 2026).
Image 6- faiththedesigner.(31/12/25) ‘you already know what time it is, the yearly art dump recap’ Instagram post. available at faiththedesigner. Instagram profile. Instagram. https://www.instagram.com/faiththedesigner/
Image 7- Artistry Collective (19/06/2026) London College of Fashion University of the Arts London Faith Melody Afro and textured hair sculptor with assistant Instagram profile. Instagram. https://www.instagram.com/faiththedesigner/
Image 8- Artistry Collective (19/06/2026) London College of Fashion University of the Arts London Drag Syndrome Internationally acclaimed drag collective (n.d.) Instagram profile. Instagram. Available at: https://www.instagram.com/dragsyndrome/ (Accessed: 15 July 2026).
Image 9- Artistry Collective 19/06/26 London College of Fashion University of the Arts London Tanya Noor course leader Hair make up and Prosthetics for Performance & Nadira V Persaud Lecturer Hair Make up and Prosthetics for Performance presenting student achievement awards.
Being a student again Balancing artistic practice with academic writing.
On starting my PG Cert I have found myself focusing on self-reflection and gaining a new found empathy for the combination of excitement, anxiety and uncertainty which I see in my students. Revisiting my own learner journey highlights how society has changed in the 30 plus years since my graduation and the implications these changes have had on the current student experience. The positive changes being increased support mechanisms (both pastoral and academic) which were non-existent during my student days.
Seeing life through a student’s lens for the first time in so long has given me a shift in perspective. It emphasises just how important it is to create supportive inclusive learning environments for all learners. It has also shown me that being a mature learner does not make the process any easier. Reengaging in formal education reinforces the value of lifelong learning and its importance for those in leadership roles. “The Fifth Discipline” by Peter Senge (Senge 1990). explores the advantages of continuous learning for organisational success.
I have always learnt and gained new skills throughout my career, however these have mostly been practical skills used within industry or learning how to use new digital/online technology. Revisiting academic writing after such a long period is challenging as both require different types of focus and mental engagement. I know that this experience will help me foster a more understanding and compassionate approach to my own teaching.
On evaluation of our first lesson I found that my anxiety and first day nerves were eased greatly through the collaborative aspects of the session. The Ice breaker at the start, group critiques and collaborative feedback helped to alleviate pressure. I feel supported, less isolated and more confident to express my opinion knowing that I am surrounded by like-minded people who are familiar with the balance between art and academia. “Group Dynamics: Icebreakers, Team-Building and Leadership Exercises” by Chris Eksteen (Eksteen 2016) offers exercises demonstrating the effectiveness of Ice breakers to promote a sense of community and break down barriers.
Balancing creative practice with academic writing has always been problematic for students on our course (hair make up and prosthetics for performance) as it is a creative, practical subject and this is a challenge I am now facing. As I navigate my way through my PG Cert I hope to develop ways of becoming more comfortable with these academic aspects, find more of a balance, and some parallels between, academic writing and practical application. I am looking forward to gaining new skills and strategies to guide myself and my students through these contextual challenges. I am also enthused by the benefits of extending my UAL peer group and learning new strategies and teaching methods which are used on the variety of courses we all teach on.
Bibliography:
Eksteen, C., Opperman Kemp, S. (ed.) & Eksteen, L. (cover design), 2016. Group Dynamics: Icebreakers, Team-Building and Leadership Exercises. [book] Panza Publishers
Senge, P. M. (1990). The Fifth Discipline: The Art & Practice of the Learning Organization. Doubleday.
The article I’m focusing on in this blog is the drawing Lab (Salmon 2015) by Michelle Salmon which took place at Central Saint Martins in 2015. The purpose was to explore connections between the physical act of drawing and the human memory process, to determine whether drawing could be used as a tool to improve concentration and memory. This theory has its conceptual roots In Horace Lecoq de Boisbaudran 19th Century research In “The training of the Memory in Art” (Lecoq de Boisbaudran, 1848)
The CSM workshops highlighted the interaction between sensory input, physical activity and memory. Memory recall and concentration were enhanced during the workshops through focused observations, repetition, sensory engagement, group dynamics and critical analysis.
Salmon’s article resonated with me because the majority of teaching on my course, (Hair Make up & Prosthetics for Performance) involve visual and physical activities which include many drawing tasks. It encouraged me to identify the areas in my own teaching practices where practical and theory methods meet and merge to enhance concentration and focus. A good example of this is the use of mind maps. When creating a mind map you are displaying written information in a creative format. Making the connections between ideas easy to find, for problem solving and brainstorming. More information can be found in ‘The Mind Map Book’ (Buzan 2009)
Alan Baddeley’s concept of the “visuospatial sketchpad” (Baddeley 1974) helps us understand how this ‘visuospatial’ information is used within memory function. The ‘visual sketchpad’ helps us to navigate our way through a room and to mentally manipulate objects. It’s a bit like the ‘mind’s eye’ we often hear referred to. It only retains information for short periods of time so it’s perfect for brainstorming using a mind map where the information is immediately recorded.
I have created mind maps for my students to show structure within departments in industry and during unit briefings to break down individual tasks and learning outcomes. (See mind map images below) In the past I had given students the same information in written text form and on reflection, they did not digest or retain the information as successfully as the students who received mind maps with the same information.
Mind Map Unit Brief ‘Define Your Own Project’
Mind Map unit Brief ‘What’
Mind Map Production Team Job Roles/Responsibilities
The key findings of this article have prompted me to reflect on my own teaching and planning practices and evaluate how I can implement drawing not merely as a skill but also a tool for enhancing the learning experience.
I already suggest mind maps to students as part of the research and experimentation stages of a unit However, by embedding it as part of their planning and creating them in groups may increase knowledge retention, understanding of Briefs and learning outcomes.
Moving forward, this integration of sensory, motor and cognitive skills is a topic which I would like to explore further, learning how digital tools can be used to compliment the role of memory in drawing activities. Also the role of visual spatial, auditory and olfactory influences in the encoding process of memory.
Bibliography:
Baddeley, A. D. (1974) ‘The psychology of memory’, New York: Basic Books.
When reading The Drawing Lab (Salmon 2018) by Michelle Salmon I found the following quote very interesting.
‘‘Acting as a form of recording mechanism, each drawing, as an instance of memory, retains an element of self. This is in contrast to visual records from mobile phones and other snapshots or movies, which store the record of a moment frozen in time but do not contain the subtle nuances provided by exploration and analysis of the physical sensory experience. (Salmon 2018)
We live in a digital age and emerging technologies have had a dramatic effect on the way we interact with the world. One area in particular is how we view art. Since Covid we have seen virtual museum and gallery visits rise in popularity. There are of course many advantages to these virtual visits, including Inclusivity for patrons who have disabilities and geographical and financial restrictions. However there is an emotional disconnect which I believe is changing our attitude to, and relationship with, art. When you view a piece of artwork in a gallery you see how it exists within its environment, how it changes with the light, take in its textures, you experience its presence in the space. None of this information is successfully conveyed in a photograph or on screen.
“Our eyes are also capable of dynamically adjusting exposure. As we scan a scene, object by object, our vision adjusts the exposure for each one, allowing us to see its value and color relationships more clearly”. (Christensen I 2019)
This is relevant to my own experiences and something which I find quite worrying. For instance, I am increasingly seeing students taking pictures in museums/galleries to draw from later rather than sketching the actual object at that moment in time. People at events taking pictures or holding up cameras and filming rather than actually physically engaging and experiencing the live event. I call it the’ Mona Lisa effect’. On a recent trip to the Louvre I was shocked and surprised by how many people were just taking photos and walking away, instead of actually looking and appreciating it as the artist intended. Appreciating a piece of artwork in its peaceful surroundings is not intended to be a rushed process.
The current trend among our student cohort’s is to capture everything on camera and I believe we need to encourage them to leave their phones in their pockets and use their eyes.
Below are some strategies which may help the active process of engagement
Create drawing challenges to capture particular elements or details
Include the use of digital tools within the drawing process
Prepare students before the visit with information about artists, products and processes
Group work for a more interactive experience
Provide sketch pads for all gallery/museum visits
Make it an experimental process, not an outcome based one
Focus on perspective and proportion
Put emphasis on understanding rather than recreating
In conclusion, drawing combines physical, mental and emotional input, which creates a unique connection to the experience, imprinting it onto our memories in a way that we wouldn’t get from observing a photograph or digitally recording the same experience. We often speak about a piece of art ‘speaking to us’, I believe this sensory connection is what drives that narrative.
Salamon, M. (2018) ‘Drawing laboratory: Research workshops and outcomes’. Spark: UAL Creative Teaching and Learning Journal, Vol 3 / Issue 2 (2018) pp. 131-141
In September 2023 LCF moved to its new home in Stratford East London into a purpose built 13 floor building designed to foster collaboration with everyone under one roof, and such esteemed neighbours as Sadler’s Wells and The V&A.
Weeks before the start of term we were told the Hair make up and prosthetics rooms were not completed. We had to find alternative spaces for hair, make-up and prosthetics lessons.
My issues were:
Prioritising year groups
Finding spaces to adapt
Hiring specialist equipment
Negotiating with students
Rearranging the timetable
Adapting delivery
Find extra funding
Fulfilling Learning Outcomes
Year 3 were prioritised. I analysed the LO’s to identify the focus areas within our limited resources. (see images below)
Their first unit is experimentation and research for the final project. I emphasised the importance of in depth research, an area often neglected. I increased outside visits and masterclasses from visiting industry professionals (which I opened to all year groups) this increased networking opportunities, employability and industry knowledge.
We found two rooms not in use and hired location filming equipment to create a film and TV crowd room set up for hair and makeup lessons. This increased employability focus by recreating industry conditions.
We introduced alternative prosthetics products and processes allowing exploration of more sustainable products.
For year 1 we focused on hair/wig and make up sessions as we could accommodate these more easily. I created a new bald cap making session which didn’t require specialist rooms but utilised transferrable skills and pushed creativity. This was very successful and something we have kept in the curriculum.
For year 2 we also pushed hair/wig and make up skills and brought forward some of the portfolio and preparation for industry sessions which would normally be in year 3. This increased understanding of industry expectations.
In year 2 students elect to either go on placement or do a KE project. This helped free limited resources as all students were off campus the majority of the time. The KE project was a live theatre production focused on hair, makeup and wigs skills.
Year 2 KE Project images taken by me February 2024
Just before the spring break we had solved the main room delay issues and could use most of our specialist rooms. Year 3 students were given access to the rooms over the Spring break to catch up.
My approach was to push employability, offering increased industry masterclasses, alumni talks, trips and events. I was able to offer certain hair and make sessions so these were increased allowing me to offer more diversity within sessions.
I created focused workshops customized around the resources available. This resulted in themed workshops we have kept in the curriculum.
Analysing student feedback the following aspects were the most successful:
Recreating industry conditions
Meeting industry professionals
Alumni experiences
Themed workshops
As a result of these changes our current 2nd & 3rd year students have a strong understanding of industry expectations, good communication skills and increased resilience and confidence.
This all aligns with work based learning theories such as Situated learning theory, ‘Learning is an integral part of the social practice in which it is based’… (Lave 1991) and that; ‘Education is not preparation for life it is life itself’’ ( Dewey 1916)
Bibliography:
Dewey, J., 1916. Democracy and education: An introduction to the philosophy of education. New York: Macmillan.
For this case study I am focusing on students in their 3rd and final year on the Hair make up and Prosthetics for Performance BA at LCF. They’re aged 18-25 and their diverse needs include language barriers, autism and anxiety.
UAL support networks include academic, disability, language, mental health and wellbeing support. At course level, we offer weekly tutorials and mentoring opportunities. A balanced delivery accommodates various learning styles, utilising digital resources, teamwork, individual work and all students gain personalised feedback in all sessions.
The most effective strategies are those which foster confidence, focus and trust.
These strategies include:
Regular short 1-1 tutorials
Breaking down learning into step by step tasks
Layered skills acquisition
Regular attendance monitoring
Through tutorials I can identify individual needs at the start of the academic journey and continue to support at regular touchpoints.
Step by step learning creates manageable workloads reduces stress and improves focus. Task Analysis, chunking and scaffolding are relevant theories in my teaching context, further exploration will evolve my practices. ‘Preparing Instructional objectives’ (Mager R F 1997) explores these practices.
Poor attendance is more prominent among diverse learners. One recent strategy is an extra support officer communicating with students by phone. This has been successful in directing students to appropriate services quickly. Speedy responses and contact by phone from neutral staff have improved attendance and reduced stress levels.
During presentations students have the option to pre-record voice overs. This has improved timing, increased digital skills and reduced anxiety. I have introduced presentation and confidence building sessions. By opening these sessions to the whole group it has given confidence to the diverse learners to see that it is something which effects everyone and not just isolated to their individual barriers, building a sense of community and benefitting the whole programme. Moving forward I would embed these sessions from year 1.
The least effective strategy, especially with language barriers, are the monthly 30 minute mentoring sessions with academic staff, not from the teaching team. From personal experience, the purpose of mentoring is not always understood and students feel self-conscious communicating with a stranger. I have also noticed cultural differences in attitudes to mentoring. For students with language barriers I will explore options of student/alumni mentors who share the same first language, student buddy systems and student ‘teams’ groups for FAQ’s. I will also explore AI resources such as google translate to use in unit briefings so students fully understand expectations and do not fall behind early on.
To meet the needs of diverse learners we need to show diversity within the industry and embed diversity within the curriculum. The hair and make-up industry has become much more diverse over the last 10 years in terms of ethnicity gender and culture. To reflect this I have introduced diverse industry practitioners for demonstrations and masterclasses. I have also started ‘The diverse model bank’, providing diverse models for demonstrations showing industry techniques on a variety of skin tones, skin types, gender, disability and age. This has been an effective way of embedding diversity within the curriculum.
Diverse industry practitioner visitors:
Drag Syndrome (Vais D 2025) Instagram March 25
Radical Beauty project ( Vais D 2019)
(McCook , N. May 24) nyglorious instagram March 25
Nyomie McCook Diverse face & body art session May 24
Diverse face & body arts session May 24
On reflection, to prepare diverse learners for careers in an ever-evolving industry we need strong communication, flexible approaches to teaching and an inclusive curriculum which respects the individuality of learners. Our biggest barriers to this approach are time and resources.
