Riedel and Rau point out that “in a Western context where Christianity remains the cultural norm, different religions are positioned differently vis-à-vis each other, which raises questions of power.” (2025, p 2) As an Asian lecturer from a non-Christian background, I am also conscious of my role in shaping an inclusive learning environment. Rather than assuming neutrality, I recognise the importance of creating a classroom that is not centred around any single cultural or religious perspective.
Fashion photography is traditionally a white, male‑dominated industry. As a result, many references continue to come from Western contexts, with fewer examples from non‑Western perspectives. To address this, I actively seek out contemporary fashion photographers from around the world through events such as Photo London, the UK’s leading international fair for photography and image‑based art. Each year, it brings together well‑established photographers, galleries, and curators alongside emerging talent, offering a wider range of perspectives.
This raises critical questions about inclusivity and belonging in practice. Do all students feel invited to participate? Are students able to discuss their beliefs openly, or do they feel the need to conceal aspects of their identity? For example, it is important to consider whether students from Muslim, Jewish, or other religious backgrounds feel equally welcomed and represented within the classroom.
These reflections suggest that inclusivity is not only about introducing diverse content, but also about ensuring that different forms of identity, including faith, can be expressed safely. As an educator, my role is to create a space where students feel respected and able to engage in dialogue, while maintaining a sensitive and supportive learning environment.
Riedel and Rau further argue that “treating religion and race separately risks missing the specificities of how people experience discrimination and marginalisation as well as dominance and privilege within intersecting power structures based on religion and race. Moreover, an intersectional approach also invites us to consider how our categories of analysis have been shaped by focusing on the experiences of certain groups over others.” (2025, p 4). This highlights the importance of an intersectional approach in teaching.
In responding to this, it is important to maintain an analytical rather than a confrontational approach. Instead of comparing different religions or beliefs, teaching can be structured around critical observation and reflection. For example, asking “In many societies, certain groups have more visibility or power. How is this reflected in fashion imagery today in the UK or in your home country?” allows students to engage through visual analysis rather than focusing on their own faith or beliefs. Further questions such as “Who is usually represented in fashion images? Who is missing? How are people styled or positioned? Who controls the image?” could encourage discussion without causing discomfort. Students can then analyse a fashion image and identify who has power in the image and who does not. This approach allows them to explore sensitive issues indirectly, reducing the risk of discomfort while still developing critical awareness.
Reference
Riedel, M. and Rau, V. (2025) ‘Religion and race: the need for an intersectional approach’, Identities.
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