Maria's blog

Background

As a lecturer for the BA Bespoke Tailoring course, I deliver the practical tailoring sessions to the first year students. During these sessions, I provide the students with in-person technical demonstrations and diverse learning resources, including presentations, worksheets with illustrations, and instructional videos. These resources are available via the online platform Moodle.

Evaluation

Positives:

-The blended learning model  has “an online asynchronous core that provides a foundation and structure into which synchronous online/onsite sessions can be integrated” (Darrren, 2022).

-In accordance with UAL’s Guidance for Inclusive Teaching and Learning the resource are available electronically before the sessions, allowing the students to prepare (2019).

-By providing different modes ofcommunication, “students can access information whichever way works best for them” (UAL, 2019). The videos and illustrations are especially helpful for students with dyslexia or who haveEnglish as second language.

-The resources also support students who miss a session and needto catch up (UAL, 2019).

Challenges:

-The amount of resources can be overwhelming and confusing for students. Neurodiverse students can be especially susceptible to cognitive overload, but reducing the risk of overwhelm is good practice for all students (Damiani, 2018, Armstrong, 2012). 

-After an update that was meant to make these technical resources available across all our year groups, the Moodle page no longer works.

-It is laborious and time consuming to change our delivery. If we want to update a technique, we have to update all the resources linked to it. This means we are less flexible and agile when it comes to improving our content. During the pandemic, we had a budget allocated for making instructional videos, but these are now 5 years old and the techniques used have been superseded. Instead, I allow my students to film when I show instructions. There are many possible issues with this, since I have no control over how these videos are used.

Moving Forwards

To reduce the risk of overwhelm, I suggest removing outdated or duplicated resources. It is also important to align the content, so that different resources and staff members show techniques in the same way. Such coordination and collaboration within the teaching team, which consists of both lecturers and technicians, require staff retention and regular communication. It also requires time to update resources.

To help with continuity in design, UAL has provided templates for documents. However, they are sometimes cluttered with unnecessary information such as logos, lines and footers, distracting from the content. I suggest removing “visual noise”(UAL, no date) and creating stripped back templates that we use within our course team.

To resolve the Moodle issue, I will keep chasing the IT-team and my line manager. For now, I have prepared a shared folder that all my students can access with their own devices. I hope this is a temporary solution, since “limiting the number of core online ‘spaces’[…] helps students navigate their course” and reduce anxiety (Darren, 2022).

To update the resources we need more time allocated. I propose timing how long it takes to produce different resources (for example an edited instructional video and a worksheet with CAD-illustrations) and presenting this data to the college to highlight the efforts required to maintain high quality and up-to-date resources for blended learning.

References:

Armstrong, T. (2012) ‘First discover their strengths’, Educational Leadership, 70(2), Available at: https://www.ascd.org/el/articles/first-discover-their-strengths. (Accessed: 14 March 2025)

Damiani, L M. (2018) ‘On the spectrum within art and design academic practice’. In Spark: UAL Creative Teaching and Learning Journal. (Vol 3/ Issue 1. pp. 16-25).

Darren, G. (2022) Inclusive Core Practice. Available at: https://support.myblog.arts.ac.uk/2022/10/31/inclusive-core-practice/ (Accessed 24 March 2025)

UAL (2019) Guidance for Inclusive Teaching and Learning. Available at: https://canvas.arts.ac.uk/documents/sppreview/3550bb2f-db31-4a28-8223-6a13d80001e7 (Accessed 24 March 2025)

UAL (no date) Creating Accessible Documents. Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/61338/creating-accessible-documents (Accessed 24 March 2025)

Background

As a lecturer at the BA Bespoke Tailoring course, I deliver the practical tailoring sessions to the first year students. Many of our students have diverse learning needs, most commonly dyslexia and ADHD. In the current cohort, 20% have a confirmed Individual Support Agreement (ISA). Mental health conditions are also common, and some of the international students are not confident English speakers. My technical workshops are a mixture of presentations, practical demonstrations and the students working independently on their garments under my supervision. I find that the busy classroom environment makes it difficult for them to concentrate and filter information.

Evaluation

Noise: The new East Bank building has an open plan design. Our classroom opens out to the adjoining classroom, with only a thin sliding door offering a partial division. As a result, we can permanently hear the staff and students in the adjoining room. We also use industrial sewing machines and steam irons with suction pressing boards, which are very noisy. Students from other classes come in to use the iron in our classroom, even when I am delivering a demonstration or presentation. When working on their garments, the students are free to chat as long as they keep on working.

A flow of people: The architecture causes people to walk in and out of the room. There is a pressing room next door, and students and technical staff need to walk through our classroom to access the equipment there. There are storing cupboards along one wall, where technicians and students access materials and equipment. Students from other groups come in to use the ironing board or ask me for advice about their making. 

Spread spaces: Due to insufficient equipment in the classroom, my students need to work across several spaces. For 18 students, we have 15 tables, 5 sewing machines, and one ironing board. A couple of students have to then work on the tables in the pressing room, where they also access more irons. They share sewing machines and use machines in neighbouring rooms (when available).

Moving Forwards

On the positive side, it is easy for students to meet peers from other year groups and chat to staff outside of classes. This encourages peer-to-peer learning and helps students feel part of a wider learning community, which enhances their engagement and results (Bamber and Jones, 2015). On the other hand, the flow of people and sounds can be distracting and inhibit concentration. For neurodiverse learners it can cause cognitive and sensory overload, leading to anxiety (Damiani, 2018, Armstrong, 2012). 

Use tables in the pressing room: The pressing room is a smaller corner room, with only two tables. Though the equipment is loud and used by many, it feels more secluded than the main classroom. I am not allowed to officially reserve this table space, but I encourage students who struggle with environmental overload to set up here, providing a “positive niche” (Armstrong, 2012).

Headphones: The UAL health and safety rules does not allow the use of headphones in the sewing rooms. When wearing them the students do not hear me and I need to tap them on the shoulder to get their attention. They also miss out on informal communication and community building. More importantly, there is a risk of headphone cables getting caught when using the machinery. However, I know many of my students find it easier to concentrate when wearing them. Research has shown that “muffling sounds” can help students sensitive to noise (Armstrong, 2012). I would like to allow the use of headphones as long as they are wireless. As a permitted alternative, I will recommend earplugs, and will trial purchasing a supply of them to hand out to students in need.

Silence and agency: Silence can be awkward. Most students find that a bit of chat is relaxing, it puts them at ease and makes it easier for them to speak up and ask questions. However, it can also distract them from the task. I tend to find that unnecessary rules cause unnecessary stress and inhibit community building, but I would like to try an hour when the students cannot chat about anything that is not relevant to the session. I hope this will make them reflect on their environment, demonstrate their own agency and influence over it, and build consideration for their fellow students.

Communication: I politely ask students and other staff to be considerate when their activities cause distraction and noise in our sessions. However, a set of guidelines for shared spaces could be helpful for both staff and students. For example, a guideline that asks people to refrain from using noisy machinery during a presentation or demonstration.

References:

Armstrong, T. (2012) ‘First discover their strengths’, Educational Leadership, 70(2), Available at: https://www.ascd.org/el/articles/first-discover-their-strengths. (Accessed: 14 March 2025)

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

Damiani, L M. (2018) ‘On the spectrum within art and design academic practice’. In Spark: UAL Creatuve Teching and Learning Journal. (Vol 3/ Issue 1. pp. 16-25).

Session/artefact to be observed/reviewed:  Coat Making 3: Cutting and Fitting Unit: Bespoke Tailoring Year 1: 3 March 2025 9:30-16:30

Size of student group:17

Observer: Victor Guillen

Observee: Maria Thelin

 

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/artefact within the curriculum?

This session is the third tailoring session in a 40 credit unit, Cutting and Fitting (1st year Bespoke Tailoring). For assessment, students need to produce a bespoke tailored jacket, a technical resource, a sketchbook and a material resource. During their tailoring sessions, we work on their bespoke tailored jacket.

They have previously completed a unit where they made a pair of tailored trousers and samples of components.

Resources for this session:

-A short presentation, outlining the content.

-A couple of worksheets with step-by-step guides to the processes.

-Videos showing how to make the jacket.

All of this is available on the student’s Moodle page. I also provide the students with printed worksheets.

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

Since the beginning of the academic year. I am one of their lecturers, delivering their tailoring sessions, conducting personal tutorials, formative reviews, MTG sessions, briefings, assessment.

What are the intended or expected learning outcomes?

Learning Outcomes and Assessment Criteria related to this session:

LO3: Construct and fully finish a bespoke tailored jacket. (Process, Realisation)

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

In this session they will work on their bespoke tailored jacket (a classic tailored jacket cut in appropriate material, constructed using handcraft tailoring methods). We will make up the canvasses, machine the darts and the sidebody, and make the welt pocket. They will also take notes, photos and do sketches for their Technical Resource.

Are there potential difficulties or specific areas of concern?

Late attendance: Difficulties include students arriving late and missing the intro and first practical demonstration.

Low attendance: Another challenge is students who have fallen behind in the making of their jacket. Each step builds on the previous one, so if a student misses a session and doesn’t catch up it can be hard to keep them motivated and attentive.

I feel most of my jacket making classes have too much content, but there is no room in the timetable and curriculum to change this (we have tried)

Some of the resources need updating. I have made good progress on this over the years, aligning the techniques, but it is a work in progress.

How will students be informed of the observation/review?

The students will be informed in the previous week’s session. I will remind them again at the beginning of the session.

What would you particularly like feedback on?

I would appreciate any feedback. 

How will feedback be exchanged?

Through this form.

It would be nice with an in-person chat if possible (TBA).

Part Two

Observer to note down observations, suggestions and questions:

Hi Maria

Thank you for inviting me to your studio session, part of the Cutting and Fitting Unit: Bespoke Tailoring Year 1. You said you were open to feedback on different aspects of the session, so I’ve commented on a couple of things below. Sorry we’ve been unable to have a post-observation chat, but I hope you find the written comments below useful.

Demonstration and Explanation of Techniques

The session began with a demonstration. You ensured all students were attentive and engaged by drawing their attention to the front, checking student engagement (e.g. eye contact) before starting the demo. During the demonstration, you combined verbal instructions with practical actions, guiding students through cutting and placement techniques, clarifying which details to focus on (e.g. this doesn’t matter much because it’s on the sides), which can help students decision-making and strategy. You explained implications of certain cutting and stitching choices (e.g. You can do this… but if you do this, then…). This encouraged students to think critically about their tailoring decisions, reinforcing industry-relevant problem-solving skills.

Following the demonstration to the whole group, you monitored and continued to demonstrate using both verbal and visual input when supporting students individually. This hands-on multi-modal approach can make it easier for students to grasp complex techniques by both seeing and hearing how it is done.

I just wondered if giving the amount -and complexity- of information in some of the instructions/explanations/demonstrations, whether students would benefit from a more explicit way of checking understanding. While I thought your demonstrations were clear and well-paced, there may be a potential issue with cognitive load, so perhaps it’d be useful to have more regular and structured checks such as recaps (e.g. Can someone summarize the key points for this step?) or having students explain the process back to you before moving on could reinforce learning.

Encouraging Reflective and Strategic Learning

Throughout the session, you actively monitored student’s work, using both observation and direct questioning to encourage reflection and self-checking work as part of their development (e.g. asking students to double check marks on the fabric and measurements). You listened carefully to students and checked what they wanted to do before offering advice, options, or directions depending on the query (e.g. Do you want to… or are you trying to …?). This this encouraged student agency over their objectives and strategy, allowing them to explore different tailoring approaches while still receiving structured guidance. You also handled student mistakes with encouragement and reassurance, turning errors into learning opportunities (e.g. your response to student who said ‘I just did something wrong’ where you reassured them and explained how to fix it).

Providing Individual Support and Monitoring Progress

You maintained a strong presence around the studio, ensuring all students had access to support while working on their coat pieces. You moved between students, checking on their work, silently observing, asking questions about their work, or pointing to areas that students needed to aspects of their work that they needed to address to meet the task requirements.  This suggested a balanced approach between offering guidance and allowing students to develop their skills independently. You followed up on students who had previously encountered issues, correcting as needed but also praising progress, reinforcing their learning while also helping them develop confidence.

This studio session combined strong demonstrations and hands-on skills development with tailored individual support and encouragement of reflection, strategy, student independence and decision-making. To further consolidate learning, I’d consider implementing more structured checks for understanding since students may respond ‘yes’ when asked if it’s clear or they’re following, but it may not always be the case.

Part Three

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

Thank you, Victor, for coming to observe my session and for the useful feedback.

Making mistakes

Thank you for your positive comments about my teaching approach. I am a strong believer in allowing students to make mistakes, and teaching them how to deal with them in a pragmatic way. Making mistakes is unavoidable when learning, and overcoming the fear of making them is essential for development, experimentation and creativity. It will also be part of my students’ professional careers. As you point out, turning mistakes into learning opportunities by encouraging the students to notice and solve them is an important part of their development to become independent learners and practitioners.

 More structured and explicit way of checking understanding

You warn that the complexity of the demonstrations risks cognitive overload for the students, and advise me to check their understanding more often and explicitly. I’m worried the checks will create an even greater cognitive load, but it is a good idea and I will start to question students to check their comprehension. I will ask them to explain a process back to me after I have demonstrated it, as you have suggested. This extra repetition will hopefully bolster the memory and understanding of everyone.

I do something similar when we go over a technique that the students have been shown before. I ask the group to tell me each step, and in this way we create the demonstration together. I also occasionally introduce a small review of the previous steps before showing the next ones. In future,I will make sure to do this every time.

Checking the understanding of less engaged students

There is a big spread in skills and engagement among my students. Each step builds on the previous one, so if a student misses a session and doesn’t catch up, they will be working on a different technique from the one demonstrated. These students are most likely to suffer cognitive overload, as they have the combined information of the step they are working on and the one being demonstrated. I also think they are less likely to respond to me checking their understanding in a group setting. At the moment I check their understanding individually when moving around the studio. Because of the direct and practical nature of tailoring, I see straight away if they have understood the demonstration when they complete the task. 

Supporting the students catching up

The students take notes during demonstrations, but most of the students who work behind schedule rely on hand-outs, instructional videos and individual support. In addition, I do short reviews of previous demonstrations when needed, gathering a small group of students who are working at a similar stage. This takes time, and is sometimes difficult for me to manage when working with bigger groups.

I allow my students to film when I do demonstrations. Students who work behind what I deliver in session find this especially helpful. They can then watch the demonstration when they are ready to start working on the relevant technique. Students sometimes share the videos with peers who miss a session. There are many possible issues with this, since I have no control over how these videos are used. However, the positive effect this has on student achievement outweighs my worries for now. I discuss the positives and negatives of student-made videos and the blended learning approach further in Case Study 2.

Thank you

Again, thank you for the feedback, and I look forward to seeing the benefits that the additional recaps and checks for understanding will bring.

In his article On the spectrum within art and design academic practice (2018), Damiani does not present arguments or answers. Instead, he reflects on his personal experience as a neurodivergent art practitioner in order to inspire discussion.

Neurodiversity means neurological diversity, “which brings differences in thinking, in seeing, in filtering, in analysing and responding to what surrounds us”. However, “each neurodivergent individual is different, even when diagnosed with the same condition as someone else” (Damiani, 2018).  Armstrong (2012) argues that there is “no “normal” brain to which all other brains are compared”. This great diversity in all individuals, whether they are considered neurodiverse or neurotypical, means that as educators we need to meet each student as an individual and do our best to provide them with the environment and resources they need to flourish.

Damiani identifies some aspects that help him in managing his own neurodiversity. Though they are specific to his personal experience, I think they point to universal challenges when learning and teaching, and that they can guide us towards good practice for all students.

He highlights his necessity for rhythm and repetition. A well structured course, with a regular time table, aligned resources and clear organisation, with information shared well in advance, would help provide this rhythm for students. It is also a good idea to structure sessions in a repetitive way, so that students know what to expect. For example, always showing students a presentation at the beginning of each session, having a break at the same time each day, and setting tasks with a regular duration and design.

Heightened perceptions of sound, smell and other environmental activity can lead to “surrounding information overload” (Damiani, 2018). Limiting this excess information where possible would aid the concentration of all students. Armstrong (2012) suggests providing earplugs and a quiet room where students can go to when they feel the need. I discuss in Case Study 1 how I can reduce environmental distraction in my specific context.

References:

Armstrong, T. (2012) ‘First discover their strengths’, Educational Leadership, 70(2), Available at: https://www.ascd.org/el/articles/first-discover-their-strengths. (Accessed: 14 March 2025)

Session/artefact to be observed/reviewed:  Trouser Making 6: Tailoring, Design and Identity Unit: Bespoke Tailoring Year 1

Size of student group:15

Observer: Mihali Intziegianni

Observee: Maria Thelin

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

What is the context of this session/artefact within the curriculum?

This session is the second to last tailoring session in a 40 credit unit, Tailoring, Design and Identity (1st year Bespoke Tailoring). During this unit students are making samples, a pair of tailored trousers, a technical resource and a sketchbook.

Resources for this session:

I will show a short presentation at the beginning of the session. There is a worksheet with the steps of the trouser construction process. There are also videos showing how to make the trousers.

I have shared a folder with the Technical Resources for this unit (presentations, worksheets, patterns). All of this is available on the student’s Moodle page, but unfortunately it doesn’t work this year. I have also provided the students with printed worksheets.

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

Since the beginning of the academic year. I am one of their lecturers, delivering their tailoring sessions, conducting personal tutorials, formative reviews, MTG sessions, briefings, assessment.

What are the intended or expected learning outcomes?

Learning Outcomes and Assessment Criteria related to this session:

LO 3: Draft, cut and construct a bespoke tailored trouser. (Process, Knowledge, Realisation).

LO 5: Accurately record bespoke tailoring processes and techniques and design narrative. (Communication

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

In this session they will work on their bespoke tailored trouser (a classic tailored trouser cut in appropriate material, constructed using handcraft tailoring methods). We will complete the seat seam and finish the fly front. They will also take notes, photos and do sketches for their Technical Resource.

Are there potential difficulties or specific areas of concern?

Late attendance: Difficulties include students arriving late and missing the intro and first practical demonstration.

Low attendance: Another challenge is students who have fallen behind in the making of their trousers. It can be hard to keep them motivated, attentive and working efficiently.

How will students be informed of the observation/review?

The students were informed in the previous week’s session. I will remind them during again at the beginning of the session.

What would you particularly like feedback on?

I would appreciate any feedback. 

How to handle no/low/late attendance.

How will feedback be exchanged?

Through this form.

It would be nice with an in-person chat if possible (TBA).

Part Two

Observer to note down observations, suggestions and questions:

I attended Maria’s class on January 24th where she had a great command of her teaching style and created an open, welcoming and engaging atmosphere for the students. Throughout the course she remained approachable and actively engaged with the students, creating a sense of inclusion.

As the lesson was built on previous work, it was clear that the students had a good understanding of the tasks at hand. The learning environment was supportive and helpful for the practical work, as evidenced by the students being able to continue the trouser making project effectively.

Maria structured the lesson well with clear, concise instructions. She provided an engaging demonstration that all students could see clearly so that they could follow the steps required to make their trousers. She also supplemented the lesson with on-screen presentations that clarified key concepts and provided clear reference points for the students.

The blended learning approach, which included both digital resources (presentations, worksheets and technical resources) and practical demonstrations, was really well implemented. Allowing students to access the information as required and use the resources provided in advance ensures that students can develop their skills in a more flexible way and at their own pace.

Some students arrived after the lesson had started, which can lead to them not being able to follow the first instructions. Maria has already mentioned this challenge, but it might be helpful to think about strategies to mitigate the effects. One possible solution would be to introduce short review sections at key intervals during the lesson so that latecomers can catch up without interrupting the flow of others. Another option would be to set up a peer support system where students who are on track help those who are late.

There was quite a relaxed atmosphere in the class, with students dropping in and out all the time, which I could observe when I was there. Some students left the class for a while and then came back to continue their work. As this lesson was the penultimate of the unit, it is possible that the students had already progressed to the point where they could work more independently as they had already acquired the basic skills. However, it is uncertain how the interruptions affected the learning process, especially given the nature of the tasks being worked on.

In terms of suggestions for further development, a peer support structure or time-limited revision could effectively support students who arrive late and ensure that they do not miss important instructions. Clear rules for starting and catching up on material at the beginning of each lesson could also help to maintain continuity for all students. Maria’s engaging teaching style could be further enhanced by creating more opportunities for student participation, particularly for those who are less engaged, for example by asking them to demonstrate or support different aspects of the work. Although Maria’s blended learning approach is effective, due to the ongoing technical issues with Moodle, further platforms should be explored or ensuring that physical handouts are available for students who have difficulty accessing online resources. If learning materials are accessible outside of class time, this could further support student learning.

Part Three

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

Thank you, Mihali, for the useful feedback on the session.

Blended learning approach

The blended learning approach, with presentations, illustrated worksheets with technical instructions and videos demonstrating the techniques is something that takes a lot of time to prepare. As an addition to the in-person demonstrations, these resources support the student to prepare for the sessions, remember instructions and catch up on the content. They are especially helpful for students who miss a session or arrive very late, and for students who struggle with verbal or written instructions and/or note taking. I already provide the students with a printed copy of the worksheets. Though this is not great from an environmental perspective, it is much easier for the students to follow than a screen that needs reloading and might distract with personal notifications. I encourage them to keep the papers to use in the future. I would like to investigate the possibility of printing the worksheets as a book, since I think this might be cheaper and students would be more likely to take better care of such an item.

All these resources are located on the unit’s Moodle page. Unfortunately, after an update that was meant to make these technical resources available across all our year groups, the page does not work. I have raised this problem with the technical team and my line manager, to no avail. I have instead prepared a shared folder that all my students can access with their own devices. Though not ideal, it’s an adequate stop gap while we wait for the Moodle issue to be resolved. Introducing another platform would be confusing since all other course material is located on Moodle. I will keep chasing this with the technical team and my line manager.

Short review sections

As you noticed, some students arrive late, and miss my first instructions. To mitigate this, I do a small review of the previous steps before showing the next ones. This repetition also works as a reminder for the students who were present. I also do short reviews of instructions when needed, and then gather a small group of students who are working at a similar stage. This takes time, and is sometimes difficult for me to manage when working with bigger groups. In this instance, the videos work as an additional support.

Peer support system and student participation

At the moment, the peer support happens naturally without an official structure. Most of my students help each other and exchange knowledge, and I encourage this. I have noticed that some regularly translate my instructions into other languages for their peers.

I would like to investigate structured peer support systems, to see if I can find one that works in my context. I do feel this has to be carefully managed so as not to punish the more engaged students and also make sure my instructions are passed on correctly. I have had several instances where a well-meaning student has shown the wrong technique to their peers, resulting in a proliferation of the same mistake.  

When we go over a technique that the students have been shown before, I ask the group to tell me each step, and in this way we create the demonstration together. I will explore the idea of asking a student to demonstrate an aspect of the work. Again, this would have to be carefully managed to make sure confusion is avoided. Our sessions consist of many technical steps that need to be demonstrated in a clear and logical order.

Students coming and going

My students regularly need to leave the classroom to use essential equipment (sewing machines and irons), and due to insufficient table space, two of my students work in the neighbouring pressing room. The open plan design also causes a flow of people to pass through the room during the day. (I discuss this further in Case Study 3.) I do have clear rules and structure for the sessions, and most students only leave to use machinery and during the allocated break-times. However, some students disappear for long periods and sometimes for the entire afternoon. Many students have ISAs and have grown accustomed to special flexible working patterns throughout their education. The low attendance is a wider trend, and though I am glad our sessions have unusually high attendance, that does not make student absences any less disruptive. I clearly communicate our rules and expectations, but also bear in mind that some students have good reason to sometimes leave the classroom for a period of time (for example struggles with mental health and neurodiversity). In instances where poor attendance has escalated, I discuss this with the course leader who then has a talk with the group or individual.

To improve student attendance and timekeeping, I would like to try out a reward system based on Nudge Theory*, focusing on carrot rather than stick. Thanks to industry sponsorship, we have been able to provide our students with fabric for their two tailoring projects in the first year. Up until now, I have implemented a lottery system to determine the order in which the students can chose their fabric. Instead, the order could correlate with attendance, rewarding the most dedicated students with their preferred choices of fabric.

A possible negative consequence of this particular carrot could be exposing students with low attendance for reasons out of their control, such as along illness. To avoid this I could instead reward a few high-attendance students with extra donated fabric or vouchers to the cafeteria (the vouchers would require a budget). It would be good to introduce this as early as possible and preferable at several points during the year, in order to motivate the students and form good habits early on.

*Nudge Theory is based upon the idea that by shaping the environment, also known as the choice architecture, one can influence the likelihood that one option is chosen over another by individuals. A key factor of Nudge Theory is the ability for an individual to maintain freedom of choice and to feel in control of the decisions they make. (What is Nudge Theory?, no date).

References:

What is Nudge Theory? (no date). Available at: https://www.imperial.ac.uk/nudgeomics/about/what-is-nudge-theory/ (Accessed: 16 March 2025)

Thaler, R., & Sunstein, C. (2008). Nudge : Improving decisions about health, wealth, and happiness. New Haven: Yale University Press.

Nicol and Macfarlane-Dick (2006) stress the importance of both“providing timely feedback – this means before it is too late for students to change their work” and resubmissions, where students get a chance to act on the feedback received. Both Nicol et al (2006) and Brooks (2008) emphasise the importance of feedback comments over grades, and providing the students with opportunities to discuss the feedback.

I find that even when the students have the opportunity to resubmit, they can still feel crushed after failing a unit. Research has shown that feedback given as grades have an especially negative effect on the self-esteem of low-ability students (Craven et al., 1991 in Nicol et al., 2006). This affects their motivation and performance during the remainder of the year. They will also have an increased workload when working towards their re-submission and their new unit simultaneously. This overload can be partly avoided with an improved curriculum design with more time for feedback, in the form of formative reviews and as an “integral part of the module as a whole” (Brooks, 2008). Feedback should also focus on “praising effort and strategic behaviours” rather than “praising ability or intelligence” (Nicol et al., 2006).

There was a problematic overemphasis on summative assessment when I started lecturing on the Bespoke Tailoring course. The students had 6 summative assessment points during year 1. The units where short and intense, with little time for formative reviews and feedback. During the summer term, 3 units where delivered parallel, and one of them had 2 different assessed components. The high concentration of assessment points set the students up for failure, and overwhelmed us tutors with the assessment workload. We were not allowed to change the unit structure until the re-approval process last year. Since then, we have improved the curriculum design with fewer and longer units, making it much more manageable for both students and lecturers without compromising on content.

One of the benefits of having short units was that students who were failing were identified quickly. The low grade could act as a reality check for what is expected of them in higher education, and help us tutors identify which students needed extra support. However, a formative assessment review can have the same result, without the negative effect on self-esteem. If the feedback is delivered correctly (i. e. offering corrective advice, involving praise alongside constructive criticism and using a non-authoritative tone (Nicol et al., 2006)) it does not crush the students’ motivation, and they also have the opportunity to act on the feedback, improve their work and thus learn more.

Nicol et al. (2006) concludes that “to produce an effect on internal processes or external outcomes the students must actively engage with these external inputs.” Brooks states that students want “the opportunity to have the comments explained to them and perhaps the chance to discuss or debate the mark”(2008). It is difficult to make sure that students read their summative feedback, understand it and reflect on it. Following a summative assessment, we offer sign-up feedback tutorials. However, high achieving students are more likely to engage with these. Brooks (2008) confirms that “students in the main tend not to take up” offers of one-to-one tutorials. It is easier to control this during a group formative review scenario where most of our students will engage actively by presenting their work. The feedback is delivered directly, with the opportunity to discuss it, ask questions and check understanding. The feedback is thus conceptualised as a “dialogue rather than as information transmission” (Nicole et al., 2006).

In addition, Nicol et al. concludes that “teachers should focus much more effort on strengthening the skills of self-assessment in their students” (2006). One way of doing this is to provide feedback “often and regularly”. As well as offering feedback during the reviews, I will aim for this to be an integral part of my technical sessions. By identifying areas of improvements, both in dialogue with the student and straight away, and discussing with the students how to enhance their skills, we provide the students with the opportunity to both improve their grades and their ability to monitoring and self-regulation, preparing them for developing in their practice after their degree.

References:

Nicol, D J. and Macfarlane-Dick, D. (2006) ‘Formative assessment and self-regulated learning: a model and seven principles of good feedback practice’, Studies in Higher Education, 31: 2, 199-218

Brooks, K. (2008) ‘Could do Better?’: students’ critique of written feedback. Networks, 5.

In her article Talking Art as the Spirit Moves Us (1995), bell hooks writes about art criticism, and how a person’s positionality and biases can affect the way they see, understand and judge the worth of art. She cites the art critic Sylvia Ardyn Boone sharing a popular proverb in Mende society: “There is a thing passing in the sky; some thick clouds surround it; the uninitiated see nothing”. You need an “informed intellect, a widened vision, a deepened discernment” (Boone in hooks, 1995) to metaphysically see what is before you.

hooks further discusses Edward Lucie-Smith’s book Race, Sex, and Gender in Contemporary Art (1994)and the 1993 Whitney Biennial Exhibition, where African-American art and “works by artists from marginal groups” were given exposure. In both examples, the author and curators of the exhibition frame the work within the context of revolt, automatically seeing it “as ‘political’ and lacking in appreciation for aesthetic concerns.” Hooks states: “By situating all the work of these diverse artists as a gesture of revolt against mainstream culture and its values, whiteness was not decentred, it was constantly the point of departure.” Though there are positive implications for the individual artists being exhibited, such as gaining status, attention, and a large audience, this type of inclusion re-inscribes patterns of domination by framing their work in narrow politicised contexts that don’t appreciate them on their own terms. She argues that more diverse criticism that “truly addresses the aesthetic dimensions of that work in its diversity and complexity” (1995) are needed. Though hooks’ focus in on African-American art, many of her conclusions are universal, and should also be considered when teaching a craft subject.

We need to be aware of our own positionality and unintentional biases without letting fear of misrepresenting an object stop us from using examples from different cultures. When examining an object from a “marginalised” artist or practitioner, focus should be on the value of the object itself, not its relationship to “mainstream” culture. My classes are mainly technical, so when analysing examples of practice we often focus on the actual object, generally a garment. The emphasis is on technical details, construction, function, craftsmanship and design features.

Boone’s thoughts about an initiated way of seeing also applies to the way you learn about a craft. For the uninitiated every suit looks alike, but for the trained eye endless variation and meaning can be read into garments. In addition to analysing research, we encourage our students to look at the samples and garments they make, to pay attention to quality and aesthetics. If something does not look the way they anticipated, we analyse why and how to fix it. By teaching them to evaluate garments and research, we “initiate” them to our subject, opening their “metaphysical eyes: an informed intellect, a widened vision, a deepened discernment” (Boone in hooks, 1995).

References:

hooks, b (1995) ‘Talking Art as the Spirit Moves Us, in Art on my mind The New Press: New York