My journey with the CSM Museum & Study Collection has been unexpectedly pivotal for my career. Growing up, I spent most of my free time in museums, particularly enthralled by exhibitions related to art and design. Despite gravitating towards the heritage sector, I decided to pursue a career in the fashion industry.
It began in my first year as a BA Fashion Journalism student at Central Saint Martins in 2017, when I attended a show-and-tell fashion history workshop led by Curriculum Development Curator, Sarah Campbell. Up until this point, I had only engaged with museum objects from a distance, so the experience of handling them in the study room stayed with me. From the suspense of an object being removed from its archival packaging to the theatrics of putting on handling gloves, the workshop opened my eyes to a new, multi-sensory way of learning. During the session, Sarah introduced original garments made by established design alumni, such as Hussein Chalayan, Mary Katrantzou, John Galliano, and Alexander McQueen.
Now, seven years later, I have the privilege of delivering the same experience to students everyday as Sarah’s maternity cover at the Museum. Had I not participated in the Museum’s pilot teaching scheme for alumni in 2023, I may have been on a very different trajectory today.
“The original idea for the project actually came out of a chat with you in the staff kitchen. It was a real water-cooler chat, where you were asking about any opportunities available in the museum and expressed your interest in teaching.” Sarah Campbell, Curriculum Development Curator, CSM Museum and Study Collection.
While this was a new scheme intended to support early years' Black, Indigenous, and People of Colour (BIPOC) graduates who had an interest in the museum and its teaching methods, it aligned with the Museum’s longstanding commitment to social justice and anti-racism. According to the UAL Equality, Diversity, and Inclusion report 2022/2023, the attainment gap between White and Ethnic Minority students at CSM was -17%, which was higher than the other UAL colleges. “The statistics tell us about the challenges the current system can present to people at university, so we felt it was right to try and make a positive difference,” says Campbell. Experiential and inclusive pedagogies, such as object-based learning, are instrumental in closing the attainment gap and ensuring a more equitable future for graduates.
Our conversation occurred in Autumn 2022 and the scheme was launched the following year in Spring 2023.
“Having teachers who have recently graduated gives them an insight into the minds of our students that the permanent staff members don’t have. They have a better idea of the kinds of sessions they would have liked to have when they were students including styles of delivery and types of objects used.” Sarah Campbell
Since it had to be run on a small budget, the number of participants was limited to five graduates so everybody was paid adequately for their time. The museum invited graduates who had expressed their interest in the collection or won a Graduate Award to take part in the pilot. “Our recruitment process wasn’t perfect, but like the Graduate Award, it will take time to get it right. Our ultimate aim is to offer it more widely and therefore more fairly,” Sarah reflects.
The comprehensive teacher training I received from the team gave me a thorough overview of the key object-based learning methodologies employed by the Museum, such as Jules Prown’s forensic reading and Gillian Rose’s critical visual analysis. Moreover, it helped me understand why and how the materiality of an object determines whether we handle it with gloves or with clean hands. Prior to the scheme, I had teaching experience with UAL Short Courses and the National Saturday Club, but this was the first time I received formal training and guidance. I relished the opportunity to design my own workshop, using the museum’s 35,000 + collection as a starting point for my blank canvas. With Sarah's guidance, I decided to run a feminist art-themed workshop for MA Culture, Criticism, and Curation students. From Barbara Hanrahan’s subversive Bearded Lady lithograph dating back to the 70s to Ashton Attzs' technicolour prints for National Coming out Day 2020, I was keen to showcase a variety of works that would resonate with our student population. After my students independently analysed the artworks using Jules Prown’s forensic reading methodology, I asked them to share their thoughts in a group discussion before writing a critique for a magazine journal.
The pilot scheme was the opportunity I did not know I needed to pursue a career in the sector I have always loved. It was transformative for me, but also my peers, Sara David, Siyan Zhang and Amandine Forest, who have continued teaching with material culture.
I was interested in the prospect of teaching directly with the Museum Collection’s objects and opening up a conversation with students on how these could become prompts into wider conversations around how archives can be drawn from, reinterpreted, and understood in a collaborative and playful way. "Sara David
The workshop, aimed at BA Graphic Communication Design students, used a selection of objects from the collection, such as Hollie Paxton’s chewing gum wrapper pin and Nick Rhodes’ double-ended wine glass. Intended to be interactive, Sara set it up in the style of multiple dining tables, with objects presented as part of a “special course” menu. Students used specific prompts and questions to work through the objects, eventually creating a collectively produced illustrative-zine tapestry.
For Sara, who is an Associate Lecturer on the BA Fine Art course and Freelance Artist, the museum learning training she received introduced her to new techniques she has now implemented in her teaching practice.
Building this relationship with the museum collection so early in my career has felt invaluable. The interdisciplinary nature of the museum’s artworks is useful for teaching workshops across different courses, as there’s something of interest for everyone." Sara David
Siyan Zhang first encountered the CSM Museum when she took part in a collaborative Curatorial Practices project as part of the MA Culture, Criticism, and Curation course."Participating in the pilot scheme allowed me to learn how object-based learning works and embed it in my teaching," she says. For her workshop, Zhang designed a three-hour seminar titled, Home, Place, and Identity, for London College of Fashion (LCF) MA Fashion Curation and Cultural Programming students.
“We explored the relationship between the object and the viewer, addressing how different cultural experiences can be used to interpret our relationships to the museum object,” she explains. “The goal was to use these objects as inspiration, sparking critical thinking in students' creative practices.” Siyan Zhang
Siyan selected objects ranging from historical prints to contemporary jewellery, providing fresh perspectives on the museum collection. "The training was very practical and thought-provoking. I felt as though I was in a supportive group where I could share my ideas freely."
Siyan now works as an Assistant Archivist at the London College of Communication (LCC) Archives and Special Collections Centre and also freelances as a Seminar Leader for the London College of Fashion MA Fashion Curation and Cultural Programming course. Earlier this month, for the 10th anniversary of UAL’s education conference, Siyan teamed up with Sara David and Head of Museum, Judy Willcocks, to deliver an object-based learning workshop for staff. Titled 'Material Culture, Representation, and Belonging', the co-led session was part of the practitioners’ wider efforts to decolonise the Museum’s collection. Academic staff engaged in challenging conversations, recording their thoughts directly on the table covers. “I met Sara David through the pilot teaching project, so it was a joyful experience to work with her for the conference." Siyan Zhang.
Amandine Forest's participation was driven by her longstanding interest in teaching and her job as a graphic designer, which often involves working with archive materials. "My practice involves re-modernising and learning from archival materials, so I was eager to learn more about the CSM Museum & Study Collection and explore its dynamic collection,” she recalls. Amandine led a session that enabled students to interact with objects, including 14th-century books typically seen only under glass.
"It was a fantastic experience to bring these objects into the classroom, and I felt that my passion for the project resonated with the students. Even though some details and logistics weren't perfect, the students' enthusiasm was palpable. " Amandine Forest
Reflecting on the scheme, she learned a lot about the preparation involved in organising a workshop and how to manage students who are the same age or older than oneself. “Creating a comfortable space where students feel they are learning and gaining something from the experience was crucial."
Although Amandine was initially apprehensive about handling museum objects and keeping them safe, the support from Sarah and the wider Museum team helped her deliver a successful, fully attended workshop. “I am now eager to do more and share what I've learned with students and peers, highlighting the value of the CSM Museum & Study Collection and its resources."
The CSM Museum & Study Collection's pilot teaching scheme has proved to be an effective way to equip graduates with the knowledge, skills, and confidence to teach with material culture. Three out of four participants have continued to develop their practices and are still working with the Museum collection, and two out of four participants now have jobs with UAL Collections. “I got to work with some fantastic people and help widen the scope of the teaching in the museum, but more importantly, I got to question my teaching practice and consider more closely the challenges faced by BIPOC early careers teachers at university,” Sarah Campbell reflects. Going forward, the Museum aims to establish a fairer recruitment process, provide shadowing opportunities during training, and help participants build meaningful connections with courses. This scheme is part of the college’s wider efforts to provide graduates with unique opportunities to kickstart their teaching careers in higher education, ultimately enriching the academic experience for both tutors and students.