When I began the PgCert in Jan 2025, I was working as a CSM Climate Justice Curriculum Developer, embedding climate, racial, and social justice into the curriculum. In September 2025, I moved into a new role as Educational Developer. I now work with academic staff to strengthen teaching practices, curriculum design, and learning environments, with a focus on long-term staff development. My role involves creating spaces, tools, and training that help educators embed inclusive, equitable, and innovative pedagogies into their programmes.
In my previous role, I coordinated the Climate Advocates Programme and worked closely with the Jewellery, Textiles and Materials (JTM) Programme at CSM. At the January 2025 JTM Programme meeting, staff reflected on how the UAL Climate, Social, and Racial Justice Principles were being embedded into courses. While Principles 1–3 were present to some extent, Principle 4 – Design for human equity, social and racial justice – was identified as the least embedded. Staff expressed uncertainty about how to approach these themes, citing a lack of shared vocabulary and confidence in facilitating conversations around equity and decolonisation.
In response, I initiated a process of further investigation and prototyping of an intervention to support staff across the programme. To address this gap, I collaborated with Hannah Ogahara (Climate Advocate) and Rose Thompson (Social Purpose Evidence and Evaluation Manager) to co-design a peer-to-peer interview process. Our aim was to centre student voices and gather feedback on how they perceived Principle 4 in teaching and learning, while analysing findings through thematic analysis.
Together, we developed a structured set of interview questions to guide this process:
- Have you encountered social or racial justice themes in your coursework or creative practice? If so, where or how?
- Do you personally incorporate themes of equity and justice in your creative work which is related to your course assignments? If no, what are the barriers?
- Who teaches you social justice in your course, you don’t need to give specific names.
- How was it taught, e.g. lecture, toolkit, project brief, collaborative work, methodologies, a specific exercise…? Can you give me an example?
- Do you feel comfortable discussing social and racial justice at university? If no, what would help create a more open and supportive space?
- Can you give me a specific example/scenario when you’ve felt comfortable/or uncomfortable?
- Are there particular themes, topics, or approaches that would make these discussions more engaging? (Case studies of designers/makers working with justice themes, Hands-on workshops exploring ethical materials and processes, Collaborative projects with communities or external groups, Storytelling and lived experiences in design).
- What would make engagement with social and racial justice in design feel authentic and meaningful to you?
- If we were to design a workshop on design for human equity and social justice, what format would you prefer? (Hands-on making workshop, Group discussion and reflection, Guest speakers and case studies, Collaborative project with real-world impact)
- What would you like to gain from a workshop like this?
- Is there anything else you’d like to add about how the JTM department engages with equity and justice in design?
Hannah Ogahara conducted all interviews, engaging ten student representatives across five JTM courses (MA Regenerative Design, MA Material Futures, MA Biodesign, BA Textiles, and BA Jewellery Design). Interviews took place in March 2025, using a mix of in-person and online formats. The in-person sessions coincided with a scheduled student representative meeting, intentionally creating a relaxed, community-building environment with food and informal prompts. Students then participated in short listening sessions, individually or in pairs, guided by the consistent question set. Additional online interviews ensured inclusivity and wider participation.
This approach centred student voices and generated insights into how Principle 4 was—or was not—currently embedded, as well as how students would like to see it meaningfully addressed in their courses.
Following the interviews, Hannah Ogahara produced a report, which I co-edited. The report includes:
- the findings,
- a thematic analysis,
- conclusions, and
- recommendations and suggestions for workshop design.
I intend to incorporate sections of this report here, as these data form the evidence base for my Action Research project. They demonstrate how the issues were identified, how we investigated them through student-led inquiry, and how the findings can inform the design of a possible interventions.
Findings
1. Who we listened to
Between March–April 2025, we conducted ten semi-structured peer-to-peer listening interviews with students across five Jewellery, Textiles & Materials (JTM) courses:
| Course | Students |
| MA Regenerative Design | 2 |
| MA Material Futures | 2 |
| MA Biodesign | 2 |
| BA Textiles | 3 |
| BA Jewellery Design | 1 |
The following images show the table setup featuring prompts related to Principle 4 (Design for human equity, social and racial justice), which provided a space for students to freely share their thoughts and reflections.
2. Thematic analysis
1. Curricular marginality — “It’s just not embedded”
Across JTM courses, students expressed that social and racial justice are rarely integrated into core briefs or outcomes. Themes appear peripherally—“suggested,” “encouraged through osmosis,” or “left up to us.” There’s rarely formal scaffolding. Exposure is often incidental—via peer conversations, guest speakers, or optional events—rather than sustained or assessed within studio modules.
Below are some of the quotes from the interview:
“It’s more like a soft suggestion, but definitely not pushed.”
—MA Biodesign student
“No one specifically teaches it. There’s stuff going on in the building that you can choose to interact with, but we haven’t had a lecture explicitly on social justice.”
—BA Jewellery Design student
“We’ve talked about cultural criticism—race, gender, class—in Cultural Studies. But it really depends on the tutor.”
—BA Textiles student
2. Student initiative — “It’s something I bring in”
Despite the gaps, several students actively pursue social justice themes—drawing from activist networks, previous training, and lived experience. These students serve as informal catalysts for their peers.
“My project is activism-oriented. I’m bringing that lens into my work, even though it’s not really built into the course.”
—MA Biodesign student
“It’s something that comes through by looking at other students’ work or having conversations. Not really foregrounded, but encouraged kind of through osmosis.”
—MA Material Futures student
“I do feel supported to explore those themes—but I often have to go outside the course to really build that knowledge.”
—MA Material Futures student
3. Structural and emotional barriers
Barriers to deeper engagement include:
- Lack of time in fast-paced project cycles
- Fear of “saying the wrong thing”
- Anxiety about fitting into commercial expectations (“Will this sell?”)
“The projects are just too short. There’s usually a visual concept but not much time to go deeper.”
—BA Textiles student
“I try to avoid making work too message-heavy because jewellery is so product-focused… but I’ve seen tension when students want to focus on their cultural history but worry it won’t sell.”
—BA Jewellery Design student
“It takes bravery to bring those issues in. Sometimes I avoid going there and stick with a safer topic.”
—MA Biodesign student
“In first year we had a nice ‘be kind’ icebreaker. But nothing really sustained or specific about justice.”
—BA Jewellery Design student
“It depends who’s in the room. You have to think carefully how to say things, so it doesn’t make others uncomfortable—which then makes you uncomfortable.”
—MA Material Futures student
4. Representation and trust — “We need to see ourselves”
Students repeatedly emphasised that who is in the room matters. Authentic, open conversations depend not only on facilitation style but also on visible representation in teaching teams. Students from the global majority expressed the need for tutors and leaders who share cultural contexts and understand the lived realities of social and racial inequity.
“It would help if tutors of colour were present—so we can talk to someone specific.”
—BA Textiles student
“The lecturer on Orientalism and the white gaze was a Black woman from the U.S.—it made a difference. One of our tutors said she trusted her more than a white or English speaker to teach that topic.”
—BA Textiles student
“There are lots of international students here, but no real structure for integrating everyone. And not enough leadership that reflects us.”
—MA Biodesign student
“We need people of colour as part of the leadership. That’s what’s missing.”
—MA Regenerative Design student
5. Authenticity and meaningful engagement — “Make it real”
Students across all levels are sceptical of tokenistic approaches. They called for work that is grounded in lived experience, local impact, and visible outcomes. Real-world engagement and reflective practice were seen as essential to making Principle 4 meaningful, not just conceptual.
“Storytelling from people who’ve lived it—that’s what really lands.”
—BA Jewellery Design student
“Real-world collaborative projects—that’s what legitimises it for people. Makes it feel serious.”
—MA Biodesign student
“At Parsons [Parsons School of Design in the U.S.], we researched everything before making. Here, it feels like context is an afterthought.”
What this student highlights is a perceived shift in emphasis — at Parsons, material and contextual research was deeply integrated into the early stages of the design process, guiding decisions before any making began. In contrast, their experience at Central Saint Martins suggests that making often precedes deeper contextual inquiry, with less emphasis on researching materials or broader social, environmental, or cultural contexts beforehand.
—BA Textiles student
“Everyone brings something different. Even just swapping food or stories during breaks—that’s powerful. Let’s bring that into the course.”
—MA Biodesign student
“Seeing active change—especially at the local level. That’s when it feels real.”
—MA Material Futures student
“If each of us brings our background into the conversation, it’s inherently enriching.”
—MA Biodesign student
6. A hunger for well-designed spaces — “We need more than a talk”
Students are not asking for more lectures—they’re asking for design-led, participatory, and interdisciplinary learning experiences. They called for spaces that balance hands-on creative work, guided reflection, and exposure to community voices. Some stressed that how the space is facilitated is just as important as the content.
“Workshops where you can bring your ignorance into the room—that’s when it works.”
—BA Textiles student
“Hands-on making is where we get the brainfood… but the deeper thinking feels separate from the making classes.”
—BA Textiles student
“We need a Designing for Humanity module. With case studies, real examples, community links. Not just words.”
—MA Biodesign student
“Deeper conversations could go in Year 2—Year 1 is packed, but the second year has space to reflect and build something meaningful.”
—MA Biodesign student
Summary
- Principle 4 is not consistently embedded in the JTM curriculum—but there is a clear appetite among students for its inclusion.
- There is a culture of silence or discomfort, especially in predominantly white spaces or with ill-prepared facilitation.
- Students of colour, in particular, want to feel safe enough to bring their whole selves into the room.
- Equity work is seen as urgent and relevant, especially when it connects to real-life change, community work, and reflective practice.
Recommendations & Workshop Design
As someone who’s walked in these shoes – as a JTM alum – I know how powerful creative education can be when it speaks to the whole person—not just the designer. Through this listening project, I heard echoes of what I felt during my own time here: a strong desire to engage with equity and justice, but not always the space, structure, or confidence to do so.
Here’s what I believe we can do—together—to better embed Principle 4: Design for human equity, social and racial justice:
1. Bring Principle 4 into the heart of the curriculum
Too often, social and racial justice is treated as a sidebar or optional theme—something you bring in if you have time.But students are asking for it to be part of the core.
Ideas:
- Write it directly into project briefs and learning outcomes—not just Cultural Studies.
- Create a cross-course module that weaves justice, reflection, and material experimentation.
- Support staff to explore their own equity literacy through co-learning and training.
2. Build trust before asking for vulnerability
Many students told me they’re afraid of “saying the wrong thing” or not being taken seriously. Others carry deep cultural knowledge—but don’t see it reflected in the room.
Ideas:
- Start each workshop with co-created brave space agreements that invite imperfection and care.
- Curate diverse facilitators, including those who reflect the global majority of our student body.
- Share the labour—equity shouldn’t be an “extra” taken on by students of colour.
- Language evolves; each year offer students a toolkit that helps them talk about social and racial justice, so they feel empowered to explore it in their work.
3. Combine head, heart, and hands
This came through clearly: students don’t want another theoretical seminar. They want tactile, meaningful, creative engagement.
Ideas:
- Provocations and case studies rooted in lived experience
- Collaborative material-making with ethical constraints
- Tools like an Equity Compass to support reflection and decision-making
4. Make it real
Students don’t want speculative justice. They want their creative practice to matter—to someone, somewhere.
Ideas:
- Invite local community partners or lived-experience collaborators to shape the brief
- Show examples of student work that’s had genuine ripple effects
- Make room for students to see the impact of what they design
5. Take time
Equity work isn’t one-and-done. It’s iterative, reflective, and often emotional. The students need more than just a drop-in session.
Suggested format:
| Session | Focus | Activities |
| Part 1: Ground & Reflect | Building trust, exploring identity and power | – Story circles – Identity mapping – Lived-experience provocations |
| Part 2: Apply & Connect | Translating values into design practice | – Equity Compass activity – Hands-on ethical materials task – Co-design with a speculative community |
| Optional Part 3 | Feedback & iteration | – Present to peers and community guests – Reflect on design process and impact |
6. Give practical tools
Students want to walk away with things they can use—in their portfolios, studios, and lives.
Ideas:
- An Equity-in-Design checklist specific to materials-based practice
- A reflective journal or zine template
- A shared folder of speakers, case studies, and toolkits
- Invite speakers with existing frameworks and toolkits, e.g. Design Justice Network.
Implications for workshop design
Based on these findings, the following design principles should guide the upcoming JTM workshop on Principle 4:
- Co-create safe space
Set explicit ground-rules (“bring all your ignorance”) that normalise vulnerability and imperfection. - Elevate lived experience
Use facilitators and speakers whose backgrounds reflect those of students. - Balance theory and practice
Combine case studies and critical theory with hands-on design and ethical making. - Include community and context
Let students co-design with or for communities they care about. Connect learning to their social worlds. - Embed reflective practice
Use tools like the “Equity Compass” or journaling exercises to support long-term internal change. - Give time
Avoid tokenistic one-offs. Consider a two-part workshop or follow-up space for reflection and action.
Reference
Ogahara, H. and Gravagno, M. (2025) P4: Design for human equity, social, and racial justice in JTM – Case Study. Unpublished internal report. London: University of the Arts London (UAL).
The Exchange (2022) UAL Climate, Racial and Social Justice Principles. [Unpublished internal document]. University of the Arts London. Available at: https://canvas.arts.ac.uk/documents/sppreview/e559543e-1db7-4154-b7c4-d843861603ad (Accessed: 30 September 2025)