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Welcome to the guide about using and engaging with the CSM Museum & Study Collection.

The Museum tells the story of CSM's rich history. The collection contains a wide range of art and design artefacts and work produced by staff, students and alumni.

As well as caring for over 25,000 objects, we use the collection to support learning and teaching across UAL. We exhibit the collection at CSM and elsewhere, and have used objects to allow students, staff and the public to explore issues of mental health, anti-racism and storytelling in prisons.

We grow the collection each year with work from our graduate shows, and with archive material that tells the story of who we are as an institution.

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LibGuides: Central Saint Martins Museum & Study Collection : Welcome to the Central Saint Martins Museum & Study Collection

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General information about the CSM Museum & Study Collection

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Watch this video to learn about how to find and save objects to view from the CSM Museum & Study Collection. Here is a link to our online catalogue: CSM Museum & Study Collection – Browse All Collections – UAL (arts.ac.uk)

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I recommend you bring the following items with you:

Water bottle

Protein snack

Laptop

Pencil

Notebook

Please feel free to bring your own learning tools too, such as:

Fidget or stim toys

Speech-to-text tools

Noise-cancelling headphones

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Please meet by the sofas inside the CSM reception at 9.55am, so we can start on time. The building is located in Granary Building, 1 Granary Square, London, N1C 4AA. The nearest stations are London Kings Cross and St Pancras. From here, it's a 5 minute walk up to the square

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After spending time analysing your object using the emotional reading exercise, your group can share your thoughts aloud or virtually in the comment section

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If you feel comfortable, please introduce yourself in advance in the comments section. Here are some ideas for what you can share:

Your name

Your age

Your pronouns

Your course

Why you're attending this workshop

A fun fact about you

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The route from the entrance of the Granary Building to the Lethaby Gallery and the Museum & Study Collection is level access and fully wheelchair accessible. The walk from the entrance of the building to the Gallery and the Museum is around 50 metres. There are disabled toilets in the reception area of the Granary Building.

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Stay up to date with the latest news, acquisitions, and exhibitions by the CSM Museum & Study Collection

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If the problem continues, contact the site owner.

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Clean Hands Are Key

Wash and dry your hands thoroughly before handling any objects.

Pencil Only

Use only pencils for notes—ink is much harder to remove if there's a mishap.

No Food or Drinks

Keep food and drinks outside the room to prevent spills or stains near the objects.

Two Hands for Safety

Always use two hands when picking up or moving objects, even small ones, to reduce the risk of drops.

Wear Gloves When Needed

If you’re wearing nail varnish, have sweaty hands, or are handling delicate materials, please wear gloves.

Stay Close to the Table

Handle objects over the table to minimize the impact if anything slips from your hands.

No Trying Things On

Avoid wearing or trying on items like jewellery, clothing, or accessories to prevent damage or unnecessary wear.

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Please spend 5 minutes completing my mandatory feedback form via this link: https://docs.google.com/forms/d/e/1FAIpQLSfgoiG4skLMbYdlK11X_xGLHUiydX2Rd_YdTErxuF1zyYitKw/viewform

Your feedback will be collected anonymously and used to improve the quality of this workshop for future learners

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This worksheet encourages you to think about how your own intersectionality impacts the way you emotionally interact with objects. We will use this exercise to analyse the five objects below in groups

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Object 1:  Bioprosthesis by Arianna Pezzano, 2023

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Object 1:  Bioprosthesis by Arianna Pezzano, 2023

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BioProsthesis offers a deeply personal and sustainable solution for breast cancer survivors. This innovative project collects hair lost during chemotherapy and processes it to extract keratin, a natural protein. The keratin is then used to create custom-made prosthetic breasts, designed to match the wearer’s unique body shape and size. By transforming a material that represents loss into a new form of self-restoration, the prostheses provide both physical and emotional healing. This approach not only offers a sustainable alternative to silicone prostheses but also helps patients reconnect with their bodies, fostering a sense of wholeness and acceptance during recovery.

https://ualshowcase.arts.ac.uk/project/445601/cover

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Object 2: National Coming Out Day prints by Ashton Attz, 2020

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Object 2: National Coming Out Day prints by Ashton Attz, 2020

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This collection of A3 archival inkjet prints by Ashton Attzs celebrates the diverse experiences of LGBTQ+ individuals. Each print features vibrant, playful illustrations that address themes such as self-discovery, acceptance, and the courage to live authentically. The works highlight various aspects of LGBTQ+ identity, including the importance of non-binary visibility, lesbian representation, and solidarity with the Black Lives Matter movement. Attzs incorporates uplifting messages and colourful imagery to inspire confidence and community. The series aims to normalise coming out as an ongoing journey, providing support and visibility for those navigating their identities.

https://collections.arts.ac.uk/objects/45832/5-works-by-ashton-attzs?ctx=bb6aefb0-7939-4256-9a86-e38b194a9645&idx=0

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Object 3: Framing Fragility embroidery samples by Angelica Ellis

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Object 3: Framing Fragility embroidery samples by Angelica Ellis

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Framing Fragility explores the intersection of couture embroidery and inclusive design, focusing on the experiences of people living with chronic pain or physical disabilities. The designer collaborates closely with participants to develop wearable embroidery frames that capture their personal experiences of pain or discomfort. These frames serve as visual and tactile representations of their physical sensations, transforming intangible feelings into tangible "textural stories". The project emphasises the therapeutic potential of design, allowing participants to engage creatively with their bodies and experiences. By merging beauty and functionality, Framing Fragility challenges conventional notions of disability and offers a new form of self-expression.

https://2023.rca.ac.uk/students/angelica-ellis/

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Object 4: Worth 100 Women prints by Farida Eltigi, 2021

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Object 4: Worth 100 Women prints by Farida Eltigi, 2021

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This poster series seeks to challenge and redefine the representation of Egyptian women in media and society. Drawing on Edward Said’s theory of Orientalism, the project critiques the exoticised and often inaccurate portrayals of Middle Eastern women. Each poster showcases a young Egyptian woman in her daily life, emphasising individuality, strength, and authenticity. Through bold imagery and storytelling, the series aims to dismantle stereotypes and encourage viewers to see Egyptian women as active, visible participants in public life. By celebrating their presence and agency, the project empowers women to embrace their identities and resist societal pressures.

https://collections.arts.ac.uk/objects/46734/worth-100-women?ctx=70b37dce-0a72-4689-b84a-f637029fda15&idx=0

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Object 5: Eso Extension hair fibre bundles by Funmi Olawuyi, 2024

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Object 5: Eso Extension hair fibre bundles by Funmi Olawuyi, 2024

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Eso Extensions reimagines hair extensions by using sustainable, bio-based materials derived from pineapple leaf fibres. These extensions mimic the texture and feel of synthetic or human hair but are fully biodegradable. The fibres are dyed with plant-based colours and treated with natural softeners to achieve a realistic, comfortable finish. The project collaborates with pineapple farmers in Nigeria, repurposing agricultural waste that would otherwise go unused. Leftover materials from the production process are returned to farmers as livestock feed or natural fertiliser, creating a closed-loop system. Eso aims to reduce the environmental impact of hair extensions, which are traditionally petroleum-based and non-biodegradable, while also supporting local farming communities.

https://ualshowcase.arts.ac.uk/@funs

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Hi! My name is Dayna and I am a 25-year-old British-Iranian woman born and raised in London. My pronouns are she/her.

Currently, I work part-time as a Curriculum Development Curator at the CSM Museum & Study Collection and as a Learning Session Leader at the Roald Dahl Museum and Story Centre. I also lecture on CSM’s BA Fashion Design and MA Culture, Criticism, and Curation courses and tutor on UAL's Inside the CSM Museum short course.

Alongside these roles, I am pursuing a PgCert in Academic Practice in Art, Design, and Communication at UAL.

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Housekeeping: Toilets, fire alarms, and breaks

Complete your name badge and forms

Meet your facilitator and hear about the workshop focus

Ground rules: Respectful and open discussions

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Explore key terms and reflect on intersectionality.

Share your thoughts and contribute to our glossary

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Introduction to OBL and emotional reading

Work in groups to explore and discuss an object

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Discuss your activity insights

Share final thoughts and feedback

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What does intersectionality mean to you?

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What does intersectionality mean to you?

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Intersectionality is a term by Kimberlé Crenshaw that shows how different parts of a person’s identity (like race, gender, or class) combine to create unique life experiences, including discrimination.

I want everyone to think alone or in pairs about how you interpret intersectionality and what it means to you. You can share your thoughts aloud or virtually in the comments section

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Learn more about our major projects and exhibitions

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Read the latest news from UAL Research. Find out more about our innovative research, exhibitions, publications, conferences, festivals and workshops.

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I have provided some definitions for key terms relating to this workshop below. Feel free to share your interpretation of these terms or add new terms in the comments section!

Intersectionality
A term by Kimberlé Crenshaw that shows how different parts of a person’s identity (like race, gender, or class) combine to create unique life experiences, including discrimination.

Neurodiversity
A term by Judy Singer to explain that people think and learn in different ways. Conditions like autism, ADHD, and dyslexia are natural differences, not problems.

Social Model of Disability
This model says disability comes from barriers in society, like inaccessible buildings or unfair attitudes, not from a person’s body or mind.

Gender
Judith Butler explains that gender is something we do, not something we are. It’s shaped by behaviour and society, not just biology.

Women
The CSM Museum & Study Collection and Women@CSM support anyone who identifies as female, including non-binary and trans people.

BIPOC
Stands for Black, Indigenous, and People of Colour. It highlights the unique struggles of these groups against racism. We use this term to refer to ethnic minority groups, though we know it’s debated.

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Email me at d.tohidi@arts.ac.uk or post in the comments section

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Go behind-the-scenes and learn key curatorial skills in this two-day short course held at the CSM Museum & Study Collection

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Inside the CSM Museum and Study Collection Short Course

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This exciting short course is designed to offer a backstage pass to the compelling history of the CSM Museum and Study Collection.

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Here is another handy glossary provided by the UAL Disability Service team