The goal

It was important to Andrew and the curatorial team that ‘Costume Art’ examine historic imbalances in artistic representation within The Met’s collection. They wanted to expand the range of designers’ work featured in the exhibition and The Costume Institute’s holdings, and highlight the connection between art, clothing, and the body across centuries of creative output. 

Cultural spaces have historically excluded the Disabled body, presenting a key opportunity for institutions and organisations to invest, partner, and collaborate to address these absences. A consistent barrier to diverse representation in fashion exhibitions has been the availability of mannequins representing different body types, along with the inflexibility of the mannequin-making process, which often restricts the poses and range available to curators when displaying garments on Disabled bodies. It was a priority for The Costume Institute that the mannequins in ‘Costume Art’ reflect the diversity of embodied experiences with fashion.

Additionally, the department expressed a desire to build upon its existing resources for volunteer guides to help ensure that they were confident and further equipped to discuss disability and support guests with varying access needs.

Our approach

Guided by The Costume Institute, Tilting the Lens applied a holistic approach to the project, utilising four of our core services, research, strategy, design, and training.

Research

To ensure the ‘Disabled Body’ section was as broad and representative as possible, Tilting the Lens researched design archives for disability-related collections and explored the lived experiences of Disabled designers. This research helped inform curatorial’s pairings of fashions with artworks from other Met departments, sparking new conversations about where Disabled bodies have historically been depicted in art.

Strategy

Tilting the Lens provided strategic framing for this section of the exhibition and catalogue, centring themes of Disability Rights, Disability Pride, and Disability Justice. The intentional naming of ‘Disabled Body’ was an exercise in reclamation, designed to challenge ableist euphemisms.

Design

Tilting the Lens participated in trialing an innovative photogrammetry casting process, which allowed diverse mannequins, including a new digital mannequin of Sinéad Burke, to be created for the exhibition. For this project, the ‘cast’ was done in a cylindrical machine, with 175 cameras placed three inches apart, covering the entire surface area. There was a space inside for the model to step into and every part of the body was captured in the centre of the lenses. 

Training

In coordination with The Costume Institute and The Met’s Access team, Tilting the Lens designed and hosted a virtual training programme for the volunteer guides. The sessions covered the models of disability, the use of disability-first terminology, introductions to brief visual descriptions for Blind or low-vision guests, and practical scenarios for supporting visitors who may be over-stimulated or require a place to rest.

Outcome and impact

The ‘Costume Art’ exhibition successfully honours the beauty and validity of the Disabled body, communicating to visitors that disability is an inherent part of the human experience. Pieces by Disabled designers and artists including Justin LeBlanc, Helen Cookman, Lou Linderoth, Nolan Trowe, and Sugandha Gupta are included in the exhibition. The mannequins, which feature polished steel in place of faces, successfully allow visitors to see themselves reflected in the garments and diverse body types. A number of Disabled people’s bodies, including those of Aariana Rose Philip, Sonia Vera, Antwan Tolliver, and Aimee Mullins, are also represented in the exhibition.

A core principle at Tilting the Lens is building legacy memory so that accessibility remains part of an institution’s long-term fabric. To encourage future academic research into the ableism present in design systems, Sinéad Burke donated two garments to the Costume Institute’s permanent collection, ensuring that the Disabled experience remains an accessible resource for future scholars and designers.

The challenge

Disabled people are marginalised and underrepresented in the fashion industry, with barriers including:

• Physical inaccessibility: From fashion retail spaces to global headquarters, to design ateliers and fashion shows, industry space are rarely built with accessibility in mind, creating systemic barriers for the Disabled community.

• Economic exclusion: The Disabled community still experiences a significant employment gap and faces higher living costs, which makes accessing higher education much more difficult.

• Cultural stigma: The continuous underrepresentation of the Disabled community suggests that the fashion industry is not a welcoming environment for Disabled people, either as customers or professionals. 

• Limited access to fashion education for Disabled students: Traditional educational modules are often lacking in multimodal learning approaches and / or adequate access provisions, success for Disabled students can be difficult to achieve. 

• Need for systemic change to include accessibility in workplace environments: The fashion industry is competitive and fast-paced. Key HR mechanisms such as reasonable adjustment plans, disability leave policies, and inclusive and accessible recruitment processes are yet to become standard practice within the industry. This makes it more difficult for Disabled people to be successful in the fashion industry, even after graduation.

The programme was developed in response to these challenges, aiming to recognise the fashion creativity that comes from the Disabled experience. 

Our approach

The project has been designed to be accessible by default. The application process offers accessible formats and accommodates a range of access needs and communication styles, ensuring that everyone can be considered.

Once enrolled, The New School offers Disabled students support and accommodations through the Office of Student Disability Services, which works alongside faculty and students to co-create accessible solutions throughout the academic term.

• Financial support: From tuition fees, living expenses, and access support, the Scholarship financial packages for this programme range from $50,000 to $90,000 USD per year.
• Mentorship opportunities: Students have access to a network of mentors with lived experience of disability. Mentors provide support and guidance, and help students to prepare for their future careers, facilitating discussion, and building confidence.
• Faculty training: In collaboration with Parsons and Disability Student Services, Tilting the Lens designs and develops disability inclusion and accessibility training for full-time faculty members, ensuring that education professionals are ready to welcome Disabled students. The training aims to increase faculty confidence and awareness, and to create a robust framework that guarantees an equitable education system for all. 
• Engaging industry partners and funders in the process: The funders of this project are active participants in supporting our students to have careers, and take their responsibility seriously to shape a more inclusive fashion industry. From industry events to professional development workshops, they are constantly seeking opportunities to support and nurture the students’ network and prospects.

Outcome and impact

Fashion students 

A total of five students have participated in, or are currently undergoing the programme. Two new students will join in September 2026. 

Caity Briare (Graduated in May 2026)

Caity Briare, also known as Ca8ty studied the MFA Fashion Design and Society programme. She is an artist and designer. Her work explores themes of whimsy and humour, which she describes as “wearable art.” Caity has designed accessories for KidSuper’s Spring/Summer 2026 collection and created custom pieces for celebrities. Caity was selected as one of the muses for the CFDA/Vogue Fashion Fund 2025 Challenge, centred on Adaptive Design.

Elijah Turner (Graduated in May 2026)

Elijah studied the MFA Fashion Design and Society programme. His work uses materiality as a storytelling device, exploring dualities and juxtapositions to rethink the role of clothing in contemporary culture. He hopes to pursue design roles in menswear while also developing an art practice in clothing-based sculpture and digital art.

Giani Rocha-Barnes (Graduated)

Giani Rocha-Barnes studied fashion design in the BFA programme. While he spent some time in the Air Force, he used his free time to go to school and start his own brand. Once Giani left the military, he immediately transferred to Parsons to study fashion design which finally began his career. Within his first year of moving to NYC, Giani interned for Willy Chavarria, and the experience he gained truly inspired him.

Hera Ford (Current student)

Hera is studying in the MFA Fashion Design and Society programme. As a neurodivergent designer, she is interested in decolonising design practices that honour sensory diversity and nonlinear ways of making. In 2024, her work was acquired by the RISD Museum. She has been featured in The New York Times, Harper’s Bazaar, Architectural Digest and on the cover of Frederic Magazine.

Khia Williams (Current student)

Khia is studying fashion design in the AAS programme. For Khia, fashion has always been more than clothing—it is a language through which identity, culture, and emotion can be expressed. Her long-term goal is to transition into a full-time design career, using her craft to tell meaningful stories.

Nia Stanford (Current student)

Nia is studying AAS fashion marketing and communications programme. Nia is strongly interested in being a buyer, creative director, editor, fashion marketer, stylist, or working in fashion PR. She had opportunities to visit the H&M Headquarters (Fall 2024) and the Capri Headquarters (Spring 2025), which allowed her to converse with industry executives and hear their experiences. Nia was also part of the backstage team during Fall 2025 New York Fashion Week.

Scaling the programme and education system

With the experience of two student cohorts now under our belts, and a third due to start in September 2026, we are in the process of creating a blueprint to embed accessibility into the structures of higher education. 

Fashion industry 

• Fashion system change: In developing the profile of the programme, and communicating the skill and artistry of our students, the outcomes of the scholarship are encouraging brands and institutions to embed accessibility into their product development and recruitment programmes. 
• Fosters cross-sector collaboration: We understand that by creating pipelines of Disabled talent, there is a greater urgency to ensure that retail stores, offices, design studios and boardrooms within the fashion industry are accessible.

The challenge

The RDS faces the complex task of designing and hosting a large-scale, high-energy event, welcoming thousands of children daily in a historic campus that presents barriers to full participation.  

While we were assessing the event as hosted at RDS Dublin, we were also aware that learnings could be carried to the other host venues in Belfast and Limerick.  The ESB Science Blast event is one that will live long in the memories of the children who attend and presents an opportunity to demonstrate accessibility and inclusion in action to the thousands of children who take part.

The key challenges included:

The need to maintain the seamless movement of large groups of children through every part of the site from arrival, parking and entrance, navigation through exhibition spaces, and high energy interactive displays and shows, facilitating lunch break, sanitary accommodation, first aid, and safe exit. Prioritising child safeguarding at all times. 

The venue is an older multi-purpose warehouse-style large space with high ceilings and no natural light.  It is subdivided for the purpose of the ESB Science Blast event but is difficult to manage in respect of noise travel between competing stages, and to facilitate quiet or sensory-friendly zones.

The performative-element shows combine loud noises, bright lights, on-stage and audience participation presenting challenges for sign language interpretation, real-time captioning, audio-description, and for the experience of neurodivergent attendees.

The approach

Tilting the Lens conducted a comprehensive accessibility audit during the event to capture observations during peak event capacity and to witness the real-time barriers in crowd flow and opportunities for participation.

We conducted a zonal analysis, mapping the site as distinct areas, including the exhibition hall, interactive exhibits, performance stages, staff facilities, and sanitary accommodation, identifying pragmatic solutions to address physical, cognitive, and sensorial barriers to accessibility.

Central to our approach to recommendations was the need for communication, including sharing pre-visit illustrated narratives describing what to expect at the event (e.g. noise levels, entry procedures, what a performance looks like) with teachers and students.

Communication recommendations extended to wayfinding and signage at the event, and how some simple changes could improve the overall experience for everyone.

Our approach to the audit was both practical and strategic, and included collaboration with the event management team and staff training to share learning from this event that could apply more widely across the RDS campus, and to align third-party external vendors with RDS accessibility values.

Tilting the Lens advocated for feedback channels to gather input from parents, teachers, and students, specifically focusing on Disabled children’s experiences, to help continuously improve accessibility and ensure the programme meets the needs of all participants.

Following the delivery of a comprehensive report document, a feedback loop meeting with the ESB Science Blast team went through key recommendations with an opportunity to discuss barriers to implementation. Later in the year, the full RDS event team had an opportunity to attend Disability Awareness training. Ahead of planning for the 2026 event, a focus group was facilitated with ESB Science Blast teachers from Additional Educational Needs (AEN) Schools to reflect on their experiences of supporting their students at the event, and to identify any remaining barriers to participation that could be solved for in the future. 

Outcome and impact

A school field trip or tour is often a highlight of a student’s experience, but for Disabled students or Disabled teachers, their experience can often be unequal. Trips to zoos, activity centres, or educational events are often planned and booked by those with good intentions, but they may make an assumption that the teacher is non-Disabled, or make a judgement that a Disabled child might be happy to observe, rather than participate.

This project was ambitious to ensure that all children, teachers, guardians, and visitors can engage with the ESB Science Blast programme at the RDS safely, comfortably, and with dignity, and ensure that all of Ireland’s future scientists, innovators, and educators feel seen, supported, and empowered.

“Real inclusion doesn’t happen by accident, it’s something we build together, intentionally and with care. At ESB Science Blast, we want every child to feel that this event is for them, that their curiosity is welcome, and that they can participate fully in the excitement of discovering how the world works. Working with Tilting the Lens has been transformative. Their honesty, expertise, and partnership helped us see our event through new eyes and understand where we could do better. That process felt collaborative, practical, and grounded in a shared belief that inclusion should be lived, not just stated.

We’re committed to continuously improving, listening, and learning so that each year becomes more accessible for every student and educator who walks through our doors. That’s the kind of event and the kind of future we want to create.”

– Amy Harrington, RDS Science and Technology Programme Manager

The challenge

The overarching aim of the National Talent Academies is to address and support current educational skills gaps in the screen sector. Retaining the diversity and inclusion focus that is present across all Academy initiatives, its ambition is to drive more Irish talent from all backgrounds and disciplines into the sector and develop greater awareness of the sector as a viable career path.

At Tilting the Lens, we believe in storytelling that reflects the full diversity of our communities, and in creating meaningful opportunities for employment and career progression for Disabled people. 

The goal is not only to bring Disabled writers in the room, but to break down the barriers that have historically kept them out. We aim to ensure they are leading the conversation, shaping the stories and driving authentic representation both on and off screen.

The approach

Our partnership with NTA meant that we could support this programme in many ways. 

Accessible by default

Tilting the Lens ensured all documents, programme materials, and applications were accessible from the outset. There were multiple options for applying, as well as support offered by the team. It was vital that everyone was set up for success and that all sessions met the access needs of all participants.

Financial support

Each writer received a €2,000 bursary to support their progress in the programme. Tilting the Lens contributed €500 per participant, a total of €2,500 to this fund. 

Promotion and communication

We utilised our own channels for promotion and communication to reach potential participants. We supported the creation of marketing materials, press materials, and other external communications. 

Workshops and training

We collaborated with NTA in coordinating and facilitating workshops and talks with various individuals and experts within our network. These were not only established industry professionals, but also Disabled creatives who have navigated similar barriers, ensuring their relevance to the participants’ goals and aligned with the programme’s commitment to authentic, experience-led conversations.

Participants engaged in a series of workshops and talks, including:

• A deep dive into Disabled representation on TV with Sam Tatlow, Head of Diversity, Equity and Inclusion at ITV.
• Script workshops with script consultant and producer Philip Shelley.
• Feedback sessions with script editor Nadine Flynn.
• Masterclasses with Oscar-winning filmmakers Tom Berkeley and Ross White, and TV writer Peter McKenna.
• Industry insights from professionals such as talent manager and founder of 1IN4 Eryn Brown, and writer, actor and producer Kyla Harris.
• Advice and guidance from script and development executive Hayley McKenzie, on the range of roles within scripted development and next steps to a screenwriting career.
• The programme culminated in a table read — bringing their stories to life with professional actors.

Mentoring

Each participant benefited from bespoke mentorship tailored to their personal development goals. The mentors in the 2024 programme were:

• Award-winning writer, director and producer from Dublin, Rioghnach Ní Ghrioghair.
• Theatre director and dramaturge Lu Kemp.
• Actor, screenwriter, documentary filmmaker and playwright John Connors. 
• Screenwriter, television writer and playwright Michael Zam.
• Producer Shauna Shivers.

Outcome and impact

Participant success stories 

• Louise Bruton applied to NTA’s Short Film Fund with her script “Let Go”, which was developed as part of 2024’s Screen Stories programme. It was awarded funding, and will go into production in 2025. 
• Maura Campbell’s script “The Grim” which was developed as part of 2024’s Screen Stories, was selected in the 2025 UK Comedy Initiative. Her script made it to the quarter finals.

2025 and feature film scripts

The programme received positive feedback from participants in this first iteration and that allowed us to return for a second year. Three new writers were selected to undertake a six-month, feature film script development programme in 2025. 

Together with the National Talent Academies, we are committed to continuing this work of dismantling barriers, investing in talent, and amplifying Disabled creatives to tell the stories only they can.

The challenge

Publicjobs serves as the central recruitment agency for the civil and public sector in Ireland, and they are responsible for helping ensure that the sector’s workforce reflects the diversity and inclusivity of Irish society. 

In line with the Irish government’s Public Service Transformation Strategy and publicjobs’ own Equality, Diversity, and Inclusion (ED&I) strategy, publicjobs recognised the urgent need to improve the recruitment, assignment, and onboarding processes for Disabled candidates. 

Statistics show that only 2.8% of applicants identify as Disabled, and there is a significant employment gap between Disabled and non-Disabled individuals. Publicjobs set out to develop a comprehensive framework to enhance accessibility and support for Disabled candidates during both the job placement and onboarding stages of the recruitment process.

The goals of the project were laid out as such: 

Improve candidate and client experience 

Use co-design and collaborative thinking and methodologies to address systemic barriers and support the unique needs of Disabled people who are entering the public sector or being promoted to new roles, and who require reasonable accommodations.

Support public sector diversity goals 

Contribute to the Irish government’s target of achieving a minimum of 6% Disabled employment in the civil and public sectors by 2025.

Foster a culture of inclusion 

Empower public sector recruiters, hiring managers, HR teams, and other stakeholders with the knowledge and tools necessary to support Disabled candidates and employees effectively.

The approach

The project adopted a co-design and collaborative methodology, involving over 100 stakeholders, including Disabled employees, HR managers, Disability Liaison Officers (DLOs), public sector recruitment experts, Disabled people working in the private sector, and representatives from Disabled Persons Representative Organisations (DPROs).

The process included the following:

1. Stakeholder engagement: Iterative group sessions, ideation workshops, and validation sessions ensured that the voices of Disabled employees were central to the project.
2. Knowledge transfer: A series of Town Hall events and accessible resources were developed to build disability awareness and allyship across the public service.
3. Research and data analysis: Comprehensive research, data and benchmark information from publicjobs over the last number of years was analysed to understand current challenges and identify areas for improvement.

The particular challenges identified were:

1. Inconsistent support across departments: There was a lack of a standardised approach to providing reasonable accommodations (RA), leading to poor onboarding experiences and low career expectations among Disabled employees.
2. Non-disclosure of disability: Many Disabled employees were reluctant to disclose their disabilities due to fear of stigma, resulting in missed opportunities for appropriate support to advance their careers.
3. Systemic barriers: The rigid application of the order of merit system in the recruitment process and lack of accessible information about job roles and office environments can sometimes mean Disabled candidates are placed in positions which may be less suitable for those candidates.

Outcome and impact

A comprehensive report and blueprint developed by Tilting the Lens and Blue Line Consulting has set the stage for a transformative change in how Disabled candidates are supported coming into and progressing within the Irish public sector. 

Recommendations are listed under the pillars of People and Culture, Process and Systems, and Governance and Policy. They provide a roadmap for publicjobs, other public bodies, and the public sector as a whole, to create more inclusive and accessible recruitment processes and working environments, driving progress towards the government’s diversity and inclusion goals. The blueprint recommendations are being implemented by publicjobs, DPENDR, and by organisations across the civil service and public service. 

Through this project, Tilting the Lens successfully delivered a comprehensive framework that not only addresses the immediate needs of Disabled candidates in the public sector but also lays the groundwork for long-term cultural and systemic change. The collaboration has highlighted the importance of co-design and continuous dialogue with those most impacted, ensuring that the public sector can harness the full potential of an untapped resource – Disabled employees.

The challenge

Disabled people often face barriers to enjoying a night out, and have to make or put up with compensations, like being lifted up entrance steps, not being able to use inaccessible toilets, or having no clear view of the stage. 

For Tilting the Lens, the clear goal for this We Do Us night was to make sure that every attendee felt welcome, and that challenges usually experienced by Disabled people were considered and addressed right from the start. The aim was equity of experience, giving every guest autonomy, agency, and choice.

The approach

We know the importance of having Disabled collaboration integrated into event planning from the beginning. We were at the very first site visit to Leake Street to audit the space and assess what would be needed to make it accessible. 

To make a truly inclusive event, we focused on three main elements: communication, physical access, and service.

1. Communication

After buying their ticket, guests received an email with full details about the event, and the same information was easy to find on official social media posts shared by performers and organisers. 

An accessible webpage supplied access information, including transport routes and a description of the surrounding area, precise measurements of the accessible bathrooms, and early entry times for more relaxed arrivals. 

Within the venue, signage was a priority. The location of the accessible bathrooms, quiet room, bar, VIP area, stage, and viewing platform were all indicated via clearly marked signs and coloured lines stuck to the floor. Those signs were then lit by spotlights, while extra lighting was used to improve visibility for bathrooms, service counters, steps, and seating areas. 

Guests had the option to be dropped directly to the door of 26 Leake Street, and were met by staff who explained the layout of the step-free venue. Members of staff, wearing red t-shirts to stand out, were on hand throughout the evening to offer assistance.

2. Physical access

The venue is central, close to parking bays and an accessible Tube station (Waterloo), and largely flat inside, so was mostly ideal for an accessible event like this. But adjustments still needed to be made. 

For example, there were a number of ramps leading to the accessible toilet, so we constructed a platform that would create a flat surface, which is highly preferable. Construction might sound complicated and expensive, but it was actually a simple and cheap improvement. 

For the accessible toilets, we made sure that they did more than just meet the minimum standards, by adding a full-length mirror, footstool, menstruation products, and low coat hooks. 

Each drinks bar had a lowered counter so that wheelchair users and people with a lower stature could order and pay easily. All of the bar menus were available in Braille and staff underwent disability awareness training.

A viewing platform at the back of the main room was built for the event, while the area right in front of the stage was prioritised for Disabled people, with folding chairs for those who wanted them. In the event, there was enough space and consideration from attendees that Disabled guests felt comfortable using the whole dance floor. 

Inclusive access

Access is often thought about solely in terms of wheelchair users, but Tilting the Lens wanted to ensure that the needs of people with physical, learning, and intellectual disabilities, as well as neurodivergent and Autistic people, were catered to.

This included in-app and on-demand visual interpreting, specific lighting designs, a quiet room, and noise-reduction headphones.

Everything performed onstage was signed by professional BSL performers, subpacs were available to Deaf guests to feel vibrations, and BSL interpreters were available at the bars and throughout the venue. 

There was also a specifically-designated quiet room, which had soft furnishings, low lighting and no music, and was located away from the main thoroughfare to reduce noise from the crowd. 

3. Service

Ensuring guests feel comfortable and welcome at an event is not just about the physical space, but the personal interactions. With this in mind, all staff were given disability awareness training to make sure that they felt confident serving people with different access needs. 

Staff also focused on creating a relaxed and welcoming environment for guests, rather than simply serving as many drinks as quickly as possible.

Outcome and impact

The night itself was an accessible, inclusive success. By prioritising inclusion from the outset, Tilting the Lens and our partners at the event proved that good accessibility is an investment, but one that is highly achievable and has a measurable return. But this is just the beginning. 

“One of the best events I have been to. Disabled people want to go out and have fun, we just don’t always get afforded the opportunity to do so. As a Queer Disabled person, this was exactly the kind of night I have longed for, where I don’t have to sacrifice parts of myself,” – Guest feedback

This event will not be just a standalone success, but a stepping stone towards embedding these inclusive principles and practices into workflows, budgets, and measures of success across nightlife spaces. This level of inclusion and accessibility should become a standard, not an exception.

The approach

Tilting the Lens employed a broad methodology to develop the accessibility blueprint, using the following strategies.

Research and analysis

Tilting the Lens conducted extensive research on best practices and lived experience in inclusive office design. This included reviewing both UK and EU legislation on physical accessibility, building regulations, health and safety regulations, employer’s obligations, and workplace accessibility. We also ran focus groups with a range of stakeholders who have lived experience, always through an intersectional lens.

A holistic approach

The blueprint covered various dimensions of accessibility, ranging from physical aspects like wheelchair ramps and seating, to digital elements such as accessible software and assistive technology.

Shaping perspectives and prioritising voices

We recognise the historical underrepresentation of Disabled individuals in the field of design, and how this absence underscores the disregard for their perspectives. So our strategy for the blueprint revolved around prioritising Disabled individuals, and leveraging their expertise for effective solutions.

Outcome and impact

The collaboration between All3Media and Tilting the Lens culminated in the creation of a comprehensive 116-page accessibility blueprint. The document is rooted in the legislation and building standards for their most relevant markets, along with the qualitative and quantitative data gained from focus groups with Disabled employees, line managers, office managers, recruitment personnel, and senior leaders. 

The blueprint provides clear guidelines for accessible workspaces, and includes a wide range of considerations:

Physical accessibility

The design guidelines addressed physical accessibility features, such as ramps, elevators, accessible bathrooms, parking and public transport – to name a few.

Sensory accessibility

The blueprint included recommendations for creating spaces that catered to diverse sensory and cognitive needs, including adequate lighting, acoustics, quiet spaces and pods, and tactile wayfinding.

Inclusive culture

The project also emphasised fostering an inclusive and supportive workplace culture that embraced diversity. Accessible office spaces can improve productivity, reduce absenteeism, and attract and retain a diverse range of talented employees.

As well as these actionable insights based on stakeholder interviews, focus groups, and in-depth secondary research, the blueprint features a checklist and scorecard to aid the teams using it.

By commissioning this blueprint, and incorporating accessibility considerations from the outset, All3Media has demonstrated its dedication to creating a workplace environment that promotes dignity, agency, and ease, and ensures their physical spaces are designed with Disabled people to accommodate the needs of all employees, visitors, and guests.

The challenge

The organisers of Soho Summit wanted to ensure that Disabled people could participate and engage fully with the event, with specific accommodations in place for those who are Deaf, Blind or low vision, Neurodivergent, and others with disabilities.

This meant making sure that the content at the event – such as films, talks, and imagery – was available in multiple formats, to ensure flexibility and suitable for everyone, and of course, that the physical space itself was accessible. 

The approach

Teaming up with Tilting the Lens, Soho House implemented several key measures to enhance accessibility throughout Soho Summit, and to cater to a wider range of attendees.  

1. Physical descriptions: Panellists and facilitators at the Soho Summit offered physical descriptions of themselves before starting their presentations or discussions. This was particularly beneficial for those who are Blind or low vision, detailing participants ethnicities, backgrounds and outfits.
2. BSL interpreters: British Sign Language (BSL) interpreters were present at every talk, ensuring that Deaf attendees had equal access to the event’s content and discussions. 
3. Ramps and handrails: The main stage of Soho Summit was equipped with ramps and handrails, ensuring that those with physical or mobility disabilities could access the stage comfortably and safely. 
4. Subtitles for cinema screenings: To cater to attendees with hearing loss, all cinema screenings at the Soho Summit were accompanied by subtitles. This simple yet impactful measure ensured that everyone could enjoy the cinematic content without barriers.

Outcome and impact

The collaboration between Soho House and Tilting the Lens yielded several measurable results, transforming Soho Summit into a benchmark for accessible and inclusive events. By embracing accessibility measures, the event not only catered to Disabled individuals but also set an example for the broader events industry.

Soho Summit has continued to champion accessible events, including the following Soho Summit in Los Angeles, where many of our recommended accessibility features have continued to be implemented. ASL interpreters for the talks, ramps and handrails on the main stage, and closed captioning for all cinema screenings. They also encourage panellists, facilitators, and leadership to begin their engagement with a visual description of themselves.

The success of Soho Summit’s accessibility strategy highlights the importance of collaboration to create inclusive events. By partnering with accessibility experts, organisations can unlock the potential to create environments where everyone can participate, lead, drive conversation, engage, and thrive.