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.
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.
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 Unit National 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.