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

ASOS has a strong internal foundation, including an active, passionate Disability and Neurodiversity Employee Resource Group (ERG). They also have many resources in place, such as a wellness plan, communication strategies for workplace success, Disability and Inclusion training, and participation in the Disability Confident Commitment since 2022. 

Despite this base, challenges emerged where good intentions did not fully translate into practice: 

• The wealth of resources and their formats felt overwhelming, with no clear destination for guidance and support on disability, accessibility, and inclusion. 
• There was inconsistency in who received reasonable adjustments and why, depending on the line managers’ awareness and support for the individual. 
• Although an established Disability and Neurodiversity ERG existed, it was not as widely known or promoted as some other ERGs within the organisation. 
• There was still internal fear of “getting it wrong,” and employees at various levels were uncertain about which conversations they could have. 
• The communication between ASOSers and People Experience (PX) about Access to Work could have been clearer at times. One key goal was to improve communication between PX and ASOSers awaiting Access to Work requests, and to identify which reasonable adjustments, tech solutions, or furniture could be implemented internally at ASOS at low cost. 

Access to Work is a UK government grant scheme that provides practical and financial support to help someone get or stay in work if they have a physical or mental health condition or disability. The scheme is under increasing pressure, with long waitlists, which means Disabled employees are often not supported quickly enough to succeed in their roles. 

It’s important to note that inconsistencies in the delivery of reasonable adjustments did not stem from a lack of empathy or care. Often, Line Managers were unsure where to find the necessary support and training to both comply legally and provide appropriate support. Initiating conversations and communication lines should come from the Line Manager, and the Disabled employee should not bear this responsibility alone. This is why we explored the reasonable adjustments process in more depth, offering guidance and support to both Line Managers and employees requesting accommodations. 

The approach

The scope of work was divided into several phases, beginning with meetings with a core People Experience team led by the brilliant Gemma Harvey. 

We reviewed materials related to the employee journey, from recruitment to employment, including policies, process documents, and resources on disability, Neurodiversity, and inclusion. After evaluating these materials, we offered recommendations and suggested improvements. 

Then we directly engaged (via video calls or in person) with ASOS employees who identified as Disabled or Neurodivergent, as well as allies. This provided us with a broader understanding of the workplace culture and ensured that our recommendations were informed by lived experiences and co-created with stakeholders.

Our Process

We approached this project with openness and transparency, believing that having all information, whether positive or negative, would allow us to deliver the most comprehensive feedback, recommendations, and roadmap toward a more accessible and inclusive workplace that supports disability and Neurodiversity.

• We established a strong communication channel with Gemma and the chair of the Disability and Neurodiversity ERG.
• We were entrusted with reading and reviewing internal and external communications, policies, and processes.
• Stakeholder engagement was crucial to ensure lived experience remained central to the project and that co-creation was integral. In simple terms, we made sure our relevant recommendations were not only backed by feedback from Disabled employees, but also enhanced by it.
• We adopted flexible working patterns, focusing on the most obvious and impactful change -improved internal communication and support around access to work, and a clearer, more transparent process for reasonable adjustments.
• To make these efforts effective in practice, training for line managers, supportive resources, and clear communication of the why behind these initiatives were essential. 

Outcome and impact

A key insight from our one-to-one interviews and survey results was the need for greater clarity within the organisation. While ASOS possessed a number of really helpful resources and materials relating to disability, Neurodiversity, and inclusion, they lacked proper organisation and a clear goal. 

After our initial work together, including recommendations and a roadmap, we were excited to propose a new phase of an essential project to establish a transparent and accountable process for implementing reasonable adjustments. 

This phase of work also involved enhancing information and communication between ASOSers and People Experience regarding Access to Work and creating a central hub for disability and accessibility resources. We also recognised that ASOS could foster and demonstrate a culture rooted in confidence, understanding, and empathy. 

In December 2025, ASOS introduced the ASOS Disability Hub – a dedicated space designed to support and empower ASOS employees who are Disabled, Neurodivergent, or managing long-term health conditions, as well as allies and advocates. 

The Hub includes: 

• Reasonable Adjustments Plan – helping identify and agree on adjustments that remove barriers and enable ASOSers to thrive at work
• Manager Guidance – practical steps for managers to create an inclusive environment
• Neurodiversity Assessment & Support – details of the new AXA Health pathway for faster assessments and early support for ASOSers and their families
• Accessible Technology – tools and technology to help ASOSers work more effectively
• Disability Confident Committed – what Level 1 means for ASOS and the actions that are being taken. 

Other outcomes were: 

• People Experience now actively advocates for and supports Access to Work requests, offering broader assistance to ASOS employees throughout the implementation process and gaining a more comprehensive understanding of it. 
• We co-developed a process for reasonable adjustments for both PX and Line Managers, along with an employee journey to clarify the stages, approval, and implementation. 
• There is more communication when a reasonable adjustment is not approved, including the process for proposing alternative solutions. 
• A decision-making matrix has been created to serve as a support tool, guiding line managers and PX in determining what is reasonable, exploring solutions, and maintaining dialogue with the ASOS employee requesting the adjustment. 

This is a long-term effort, and change takes time. However, these initiatives are designed not only to support individuals in their day-to-day roles but also to promote career progression and longevity, fostering a stronger sense of unity within the ASOS community.

The challenge

The goal of the collaboration was to work with Trifle Studio to grow and expand their reach, while continuing to strengthen their core values. Tilting the Lens would help draw up and support plans for strategic growth and increased industry visibility through media and client outreach, exploring their financial model, and leadership development. 

Importantly, phase 3 of the collaboration included a full accessibility audit for Intoart and Trifle Studio, ensuring that their external and internal communication followed accessibility best practices.

The approach

The project with Trifle Studio was split into 3 phases across 3 years: 

1. Strategic planning and foundations
2. Organisational growth
3. Accessibility and capacity building

Phase 1: Planning priorities for the year

Phase 1 kicked off in February 2023 with a one-day in-person session between Trifle Studio leadership, the artists and designers, and Tilting the Lens, to align across the strategy for 2023-2024.

In this session, we covered upcoming projects and Trifle’s 2023 commissions, PR and communications planning, and leadership and recruitment. In March, Tilting the Lens delivered an action plan with recommendations for client engagement, artist development, and increasing industry visibility.

Phase 2: Affirming core mission while expanding

In the second phase of the project, Trifle Studio’s focus shifted towards strategic growth and expanding their reach and reputation, while also developing leadership. This meant that Tilting the Lens was supporting Trifle Studio across four core pillars: 

• Mission Reaffirmation: strengthening the studio’s values and expanding engagement.
• Partnerships: identifying collaborators, clients, and media opportunities.
• Sustainable Funding: exploring diversified, equitable income streams.
• Future Planning: equipping the team to adapt to shifting trends and needs.

Phase 3: Building capacity and focusing on accessibility

Phase 3 continued to build on the studio’s capacity and capabilities, and included an accessibility audit of materials, followed up by recommended improvements.

Accessibility audit

• Tilting the Lens carried out an accessibility audit across Trifle Studio’s social media, website, and communications, including recruitment materials, budgets, and contracts. We offered guidance on public-facing exhibition materials, access rider templates, and inclusive practices across the board.
• In November 2024, Tilting the Lens and a guest graphic designer led a workshop that focused on accessibility for neurodivergent and Disabled audiences, with a toolkit for practical use. 

Easy Read integration

• As part of the accessibility action plan, Tilting the Lens recommended Easy Read integrations into documents including policies, timetables, welcome packs, and consent forms. 
• A charity organisation that specialises in creating Easy Reads joined (virtually) Trifle Studio and Tilting the Lens for an in-person feedback session to discuss next steps. 

Expanding the network

The final focus of Phase 3 was creating a directory of Disabled creatives for future commissions, as well as recruiting trustees with a focus on lived experience. As part of this, Tilting the Lens helped improve the accessibility of the recruitment and outreach process, and made network recommendations.

Throughout the project, members of the Tilting the Lens team led in-person sessions at their studio in Peckham, London, to meet the artists and to make the meetings more accessible for the team as a whole.

Reports, feedback documentation, and all deliverables were always offered with a follow-up call to discuss and receive feedback. The documentation was provided in an accessible format.

Outcome and impact

This long-term project has been highly fruitful, with Tilting the Lens and the charity behind Trifle Studio, Intoart, establishing a collaborative and supportive relationship. 

• Within the studio, structured systems and processes were implemented, and communications were made more inclusive. Specific examples include increasing the accessibility of budgeting and finances for all stakeholders and creating templates for artists’ access riders to send to clients ahead of projects. 
• Trifle Studio now has roadmaps in place for Learning Disabled people to be increasingly involved in the strategic planning and future of the organisation.   
• Externally, Trifle Studio has broadened its network of collaborators and clients, garnering wide publicity when six artists with learning disabilities were featured in the May 2023 issue of British Vogue, showcasing their work at Trifle Studio to a global audience. 
• While the project concluded in May 2025, Tilting the Lens’ Senior Consultant, Emma Shaw, is joining Intoart’s board of trustees to help advance the organisation’s exceptional work and future strategic objectives. 

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.