Enhancing Inclusivity and Engagement in a Diverse Menswear Cohort
“Education must be an act of liberation, where students become critical co-creators of knowledge rather than passive recipients of imposed narratives.” (Freire, 2000, p. 81)
In my current role as a year two lecturer at LCF on the BA menswear degree course, I work with a cohort that is highly diverse in terms of cultural backgrounds, learning styles, and prior experiences in fashion education. Many students navigate complex intersections of identity within the fashion industry, and some may feel that conventional approaches to menswear do not fully represent their perspectives. Additionally, international students and those from underrepresented backgrounds often require additional support in engaging with critical thinking, industry expectations, and creative confidence.
“Fashion is not solely a Western phenomenon; it has always been shaped by global exchanges, cultural interactions, and shifting identities.” (Welters and Lillethun, 2018, p. 3)
I implemented an Inclusive Muse and Brand Identity Workshop within the Collaborative Menswear Project to address these challenges. The workshop aimed to deconstruct traditional notions of the ‘muse’ and brand identity by encouraging students to explore diverse influences beyond Western-centric fashion narratives. This initiative was designed to foster greater inclusivity and provide all students with a more personal and meaningful entry point into their design process. The workshop also facilitated a feeling of agency for the students to develop their own personal practice and their own personal ideas of a muse that inspires their design work.
“The dominance of Western fashion narratives has historically excluded alternative voices, yet contemporary designers are beginning to rewrite these narratives by integrating diverse cultural identities.” (Steele, 2019, p. 125)
The workshop was structured into three key activities:
- Diverse Muse Exploration: Students were prompted to research and present muses that reflect their own cultural backgrounds, gender expressions, or personal narratives. This encouraged a broader representation of inspiration sources and challenged conventional norms within menswear design.
- Brand Identity Mapping: Through a guided exercise, students collaboratively defined their brand’s values, ensuring inclusivity and cultural sensitivity were at the core of their storytelling.
- Peer-Led Critique Sessions: To create a supportive learning environment, I facilitated peer critiques where students could exchange perspectives and receive feedback in an open, constructive format that valued diverse viewpoints.
Impact:
- Greater Student Engagement: Students demonstrated increased enthusiasm when their personal and cultural identities were validated in the design process. This was particularly noticeable among international students who felt their backgrounds were acknowledged in a meaningful way.
- Expanded Creative Narratives: The workshop resulted in menswear collections that were more reflective of a broad spectrum of identities, moving beyond Western masculine archetypes to include fluid, non-binary, and culturally diverse influences.
- Improved Peer Learning and Confidence: The peer-led critique sessions empowered students to articulate their creative decisions more confidently while learning from each other’s lived experiences.
Reflection and Future Development: This initiative highlighted the importance of embedding inclusivity into creative pedagogy. Going forward, I plan to integrate more industry perspectives on diversity within menswear by inviting guest speakers from underrepresented fashion communities. Additionally, I aim to develop tailored learning resources that support students who may need extra guidance in critical analysis and self-directed research.
“When students are encouraged to link learning to their lived experiences, education becomes a practice of freedom rather than a mere transfer of knowledge.” (hooks, 1994, p. 45)
This case study reinforces my commitment to fostering an inclusive learning environment where all students feel seen, heard, and empowered to challenge and redefine contemporary menswear.
Refernces:
Freire, P. (2000) Pedagogy of the oppressed. Translated by M. B. Ramos. 30th anniversary edn. New York: Continuum.
Welters, L. and Lillethun, A. (2018) Fashion history: a global view. London: Bloomsbury.
Steele, V. (2019) Paris, capital of fashion. London: Bloomsbury.
Seeling, C., Müller, S. and Arantes, P. (2020) Menswear revolution: the transformation of contemporary men’s fashion. London: Thames & Hudson.
Hooks, B. (1994) Teaching to transgress: education as the practice of freedom. New York: Routledge.
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