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“And Others” - building intersectional feminist methodologies of collectivity: gender, labour, value
No full textThis chapter explores the inception and evolution of the research project “And Others: The Gendered Politics and Practices of Art Collectives.” Initiated by the author in 2019, the project has developed into an informal network of 18 cultural workers examining the dynamics of collectivity through gender, labour, and value. It addresses the historical exclusion of women from art collectives, starting with the former Yugoslavia, later expanding into a broader intersectional analysis of contemporary collective practices. The research challenges the notion that collective practice is inherently emancipatory, advocating for an epistemic shift to dismantle dominant norms and values which shape how collectivity is historicised.
By challenging established linguistic and structural framings, “And Others” proposes new terms and methods, inspired by feminist and decolonial methods. By studying collectivity collectively and incorporating diverse experiences and voices across the network, the project seeks to build a new framework for understanding and valuing collective practices in art.
The project has evolved through collaborative writing, “flipped” panel discussions, ongoing editorial work, workshops, talks, and discursive gallery displays, presented across Europe. The network continues to develop new tools and methods for an intersectional feminist art history and practice, generating rich exchanges and new theoretical insights.
The project emphasizes the importance of destabilizing and dismantling restrictive categories and institutional practices. Through micropolitical actions and practice-led collective exploration, the network is building as a lexicon of collectivity, aiming to effect structural change
Art and Science 'in residence': Sustaining meaningful journeys in transdisciplinary practice
No full textArtist-in-residence programs in scientific organisations have become increasingly popular, yet little research exists on their broader impact beyond artistic outcomes. Whilst anecdotally, these schemes report generative dialogue across the fields of art and science, challenges remain as to how to sustain transdisciplinary thinking and shift workplace cultures beyond the remit of an artistic intervention or residency. It thus becomes vital to consider what might be the prerequisite conditions (before, during, and after the interdisciplinary engagement) for optimising cross-collaboration and interdisciplinary discovery (for both the artist-in-residence and the scientific communities they reside with), and how those discoveries can be nurtured and sustained long-term.
This informal provocation is led by three practitioners with experience in performance science, psychology, and creative practice. They will draw on their experience of facilitating and observing artistin-residence schemes, including a longitudinal study of an artist scheme at the Doherty Institute for Infection and Immunity in Melbourne, Australia (2025), educational initiatives involving highereducation students from music and medicine, and a development programme for a multinational NGO which enmeshed divergent perspectives from music, magic, medicine, forensic science, culinary arts, and bespoke tailoring. Utilising these examples as departure points, a series of provocations will be offered for consideration. These include:
• How such programs can foster meaningful intercultural dialogue and disrupt conventional ways of seeing and doing.
• How 'success' might be conceptualized and measured across stakeholders.
• The opportunities, challenges, and risks inherent in artist-scientist collaborations within relational, site-specific environments.
This informal session will offer insights into the specific challenges (institutionally, logistically and creatively) that arise when facilitating transdisciplinary dialogues, and signpost strategies for creating optimal environments for artist in residence schemes. These considerations contribute to a growing body of knowledge on the broader societal value of artist-in-residence programs, and the means for sustaining innovation and interdisciplinary collaboration
Co-Rean
Get PDF1. Summary of Contribution
The Co-Rean Exhibition is a student-led, research-informed public exhibition developed at London College of Fashion (LCF), University of the Arts London (UAL), showcasing the creative and academic outputs of Korean students across design, media, fashion business, and cultural theory. The project exemplifies the university’s commitment to internationalisation, decolonial pedagogy, and industry-connected learning, while advancing LCF’s strategic goals around employability, global partnerships, and inclusive research culture.
Running annually, the exhibition integrates practice-based research, cultural exchange, and public engagement, and is firmly embedded within the institutional support for diverse student cohorts and early-career practitioners. Through showcasing research-driven work on sustainability, identity, and cross-cultural dialogue, Co-Rean provides a platform for students to translate academic enquiry into public-facing, socially engaged outputs.
2. Research Environment and Institutional Culture
The Co-Rean project operates within LCF’s research-rich, interdisciplinary environment, supported by an institutional strategy that prioritises inclusion, international engagement, and creative experimentation. As part of the broader university commitment to a healthy and inclusive research culture, Co-Rean reflects:
2.1. Cross-college collaboration (spanning Fashion Business, Design & Technology, Media and Communication)
2.2.Access to mentoring and academic development, including structured guidance from course leaders and external partners
2.3. Integration of lived experience and student-led inquiry as legitimate drivers of research impact
2.4.Support from LCF’s International Partnerships Team in building outward-facing networks with Korean academic, governmental, and industry bodies
The exhibition has fostered a peer-led, community-centred research culture, particularly among East Asian and international students. By providing routes for non-traditional research outputs—exhibitions, magazines, workshops, and performance—it reinforces LCF’s commitment to supporting pluralistic forms of knowledge production and dissemination.
3. Impact and Reach
The Co-Rean Exhibition has demonstrable impact in several key areas:
3.1. Industry and Public Engagement: The 2025 edition featured collaboration with Kolon Industries' Re;Code brand and Joguman Studio, enabling real-world application of sustainable fashion principles and industry-led workshops open to the public.
3.2. International Cultural Relations: It acts as a platform for UK–Korea cultural diplomacy, engaging stakeholders from both countries and strengthening institutional relationships with Korean partners.
3.3. Educational Experience: Students involved in Co-Rean report increased confidence in practice-led research, curatorial planning, and public communication—skills directly aligned with graduate employability.
3.4. Institutional Recognition: The exhibition is now a recurring, formally supported component of LCF’s internationalisation agenda, included in strategic development plans and faculty-facing international partnership frameworks.
4. Contribution to People, Culture and Environment (PCE)
The Co-Rean Exhibition embodies a holistic approach to People, Culture and Environment:
4.1.People: Provides emerging researchers—particularly from underrepresented backgrounds—access to professional development, peer leadership opportunities, and global industry engagement.
4.2. Culture: Fosters an inclusive and decolonial research culture by validating intercultural narratives, bilingual knowledge sharing, and global identity formation as core to institutional research output.
4.3. Environment: Demonstrates the university’s ability to host collaborative, interdisciplinary research programmes that exist beyond formal curricula, reinforcing LCF’s commitment to enabling student-led innovation within a supported and structured framework
Industry by-product as durable, commercial glaze
Get PDFPoster Presentation at NCECA (National Council on Education for the Ceramic Arts) Conference Salt Lake City Utah.
Culmination of 2 years practice based research, initially funding with CSM lens funding 2022. Presenting summary of research, successfully developing a durable ceramic glaze for tableware using by-products from other industries (chemical tested to UK industry standards for leaching/food safety) and launching a small ceramics range using this glaze commercially.
Poster Presentation - digital and printed (about ceramic glaze and tableware objects
bell hooks: Cultural Differences and Racial Justice in Fashion
Get PDFbells hooks: exposing and re-envisioning ‘imperialist-white supremacist-capitalist-patriarchy’ in fashion
In the book Teaching to Trangress (1994), the feminist and anti-racist scholar and activist Gloria Jean Watkins, who uses the pen name bell hooks, argues for a more human-focused and holistic education system, what she calls an engaged pedagogy: ‘to educate as the practice of freedom’ (hooks 1994, p.13). Using a nonacademic writing style to appeal to both a wider audience and offer an alternative to the orthodoxies of academia, hook’s work explores theory through practice, exploring topics from race, gender, class and critical pedagogy to the radical politics of love and spirituality, using varied writing genres, including fiction. This emphasis on raising critical consciousness as a means of resistance to societal inequalities centres the diverse needs of women of colour and the poor, stressing the whole person’s being and knowing as fundamental to equality. This approach is therefore highly relevant to on-going calls to decolonise the embodied practices and study of fashion; a discipline whose roots can be traced to dominant colonial ways of thinking that foreground a westernized standard heteronormative white elite female body. How might using hook’s approach to re-thinking the colonial logic presented through white supremacy and universalist thinking underpinning fashion contribute to alternative decolonial and more equitable and democratic forms of fashion design?
hook’s challenge to oppressive structures builds on a legacy of black feminist strategies in two ways: firstly, to expose the ongoing pervasiveness of colonial logic in society; and secondly to re-think how knowledge construction could be framed around the ‘decolonisation of ways of knowing’ (hooks 2003, p3). hook’s extensive writing sets out to challenge what she calls ‘imperialist-white supremacist-capitalist-patriarchy’, by centring the voices from her working class roots, especially her female family, from rural Kentucky, U.S. Indeed, this approach to de-hierarchising culture lies at the root of her choice to use her grandmother’s name bell hooks as her pen name, spelt in lower case to subvert the conventions of grammar.
For fashion educators and students, hook’s black feminist conceptual frameworks built around shared learning, love and spirituality can help to build alternatives to hegemonic Eurocentric, racist, capitalist and patriarchal thinking underpinning fashion studies and practice. Shifts to decolonise fashion and move beyond the western Eurocentric canon too often rely on the problem context, with less discussion around the practice of decolonisation. Instead, this chapter argues that bell hook’s writing provides a significant contribution to the decolonisation of fashion by encouraging the fashion academic world to look beyond its field to value the role of everyday life and ordinary experiences of fashion from all communities to disrupt hegemonic thinking. Through the lens of black feminist thinking, hooks shows how oppressive structures are interlinked and sustained through biased thinking which in the context of fashion results in a system that elevates western and elite forms of fashions. Consequently, fashions from marginalised spaces, such as from the global south, the working class, women of colour, queer, crip and black diasporas continue to be excluded. For this reason, hook’s concepts offer hope for radical new possibilities that invert long established power dynamics and empower marginalised ways of being and knowing to create alternative decolonial forms of fashion
Alphabetising Action and Thing A-E
No full textAn experimental found text cut-up collaborative piece, made with Aoife Casby. published online in the inaugural edition of DUMP Thoughts, by artist-led archive and collective, DUMP
The Practice of Theory
Get PDFThis essay is concerned with the location of theory in practice-based fashion education. It contributes to a growing recognition of the productive relationship between theory and practice in fashion more broadly and the opportunities that this affords us, as educators, to develop critical fashion pedagogies with transformative actions in the real world. Through this essay, I share some ideas for micro interventions in the form of workshops. These workshops, although small in scope, aim to reconcile the gap between theory and practice, and also question the relationship between authority and language in fashion knowledge
Creative Writing Methods for Collective and Regenerative Thinking
Get PDFThis article asks how creative practice researchers — ordinarily working in disparate fields — might find common ground to speak across disciplines in addressing important issues and shared problems. It makes a case for the value of creative writing methods as tools to enable this shared space, and through which diverse scholars can explore the embodied and networked aspects of their “thinking” and “doing” as (creative practice) researchers. Specifically, we discuss a writing workshop that we ran in Vietnam’s Ho Chi Minh City, as well as the Listening chapbook that developed as a result (and which accompanies this article), as a case study for how these methods might be deployed. The chapbook, we believe, highlights the poetic and material aspects of language and writing, and explores how these can enable the expression of more than the “informational” aspects of reflective writing. We reflect on how the chapbook emerged as an extension of previous work by co-authors Jessica Wilkinson, David Carlin and Michelle Aung Thin in creative writing methods, specifically around essaying, collective writing and poetic inquiry. We hope that one of the contributions of this article is in the detail of its description of the process of this experiment which gave rise to the Listening chapbook