REPORT A growing skills gap in technical fashion education could slow the UK’s transition to a circular economy, according to a new industry report highlighted by Ecotextile News.

The report, developed through the “Back to Baselines” project and funded by the Natural Environment Research Council, warns that a decline in technical education and fragmented professional development is creating barriers to circular fashion adoption. It notes that while environmental regulations are increasing, textile education infrastructure is shrinking, with many technical and vocational courses closing across the UK.

Researchers identified four key categories of skills required to support the shift to circularity: technical skills, specialist knowledge, cross-functional capabilities, behavioural competencies.

Without strengthening these areas, the report suggests the industry may struggle to redesign products, scale recycling systems and implement circular business models.

Partnership between education and businesses

The findings align with broader industry research emphasising the need for closer collaboration between education and business. A related skills study referenced by industry stakeholders highlights that sustainability responsibilities often fall to workers who have “learned on the job,” reflecting gaps in formal training pathways.

The warning comes at a time when the UK fashion sector is under pressure to accelerate circular practices such as reuse, repair and recycling, which require specialised technical knowledge across design, manufacturing and end-of-life processing.

ModEurop has released its Autumn/Winter 2027/28 ColourCard, highlighting emerging design directions shaped by cultural, social and geopolitical influences. The forecast was developed during a collaborative meeting of industry professionals in Germany and is intended to guide footwear and accessories designers in upcoming seasons.

The outlook identifies three themes—Sophisticated Allure, Artful Spirit and Grounded Opulence—each combining colour, material and styling concepts. The forecast emphasises durability, authenticity and tactile materials, with a renewed focus on craftsmanship and long-lasting products.

For fashion students and educators, the ColourCard illustrates how trend forecasting informs curriculum development and design research. It also highlights the importance of connecting cultural insights with material exploration and commercial product planning in future-focused fashion education.

Students from Vancouver Community College are set to showcase collections inspired by diverse cultural backgrounds and sustainability themes at Vancouver Fashion Week, highlighting the intersection of global influences and local creativity.

Twelve fashion students from the college’s Fashion Design & Production Diploma will present original garments on the runway during the event. The collections draw on a wide range of inspirations, including Indigenous, Colombian, Chinese, Filipino and South Korean cultural heritage, alongside conceptual references such as marionettes and even the anatomy of a blister. Sustainability and longevity also play a central role, with many students prioritising responsible material choices and production methods.

The opportunity provides students with hands-on industry exposure. Organisers emphasised that showcasing emerging talent on a professional runway connects education directly with the realities of the global fashion industry and helps build networks early in designers’ careers.

Faculty members noted that the collections represent the culmination of two years of intensive, practical training, with students designing, drafting and constructing their own final garments before presenting them to an international audience.

The runway presentation will also feature alumni designers, reinforcing the programme’s industry pathways and continued engagement with graduates.

The British Fashion Council (BFC), which recently placed educational initiatives at the heart of its four-year strategic roadmap, has announced a new partnership with British heritage brand Barbour to launch an annual fashion design scholarship.

Launching under the BFC Foundation, the BFC x Barbour scholarship will provide funding and mentoring to a BA or MA fashion student studying at a BFC Colleges Council member university, which includes institutes such as UAL London College of Fashion and Central Saint Martins, De Montfort University, Edinburgh College of Art, Manchester Fashion Institute, and the Royal College of Art.

Designed to reflect Barbour’s values of innovation and quality craftsmanship, the scholarship will support the recipient’s early career development “from education into the fashion industry”.

Dame Margaret Barbour, chair of Barbour, said in a statement: "The launch of the BFC x Barbour Scholarship is an important step in supporting and mentoring the next generation of designers.

“For over 130 years, Barbour has been committed to British craftsmanship, innovation and quality; through this partnership, we look forward to sharing our heritage, expertise and values to guide and inspire young designers on their creative journey."

The BFC x Barbour scholarship sits alongside existing BFC Foundation named scholarships, including Chanel, Dior and Joe Casely-Hayford.

The new scholarship follows the launch of the BFC’s new ‘2030: Access, Creativity, Growth’ strategy under chief executive, Laura Weir, which has plans to treble named branded scholarships in fashion, creative excellence and education to the value of 500,000 pounds over the next three years, as it looks to deepen support for designers at every stage through education, funding and industry access.

Weir added: “As set out in the BFC’s recently announced strategy, we are committed to increasing the number of named, brand-partnered scholarships across fashion, creative excellence and education and this scholarship is a direct delivery against that ambition.

“Scholarships like this are about more than funding. They open access and opportunity, ensuring creativity is not confined to geography or privilege but reaches talent wherever it exists across the UK. Barbour’s reputation for heritage and innovation makes them a brilliant collaborator on this mission.”

The full list of BFC Colleges Council members able to apply for the scholarship include: Arts University Bournemouth, Bath Spa University, Birmingham City University, Buckinghamshire New University, Cardiff School of Art and Design, Carmarthen School of Art, UAL Central Saint Martins, Coventry University, De Montfort University, Edinburgh College of Art, Falmouth University, Glasgow School of Art, Gray's School of Art, Kingston School of Art, Leeds Arts University, UAL London College of Fashion, London Metropolitan University, Manchester Fashion Institute, Middlesex University, Northumbria University, Nottingham Trent University, Ravensbourne University London, Royal College of Art, Sheffield Hallam University, University for the Creative Arts Epsom, University of Brighton, University of East London, University of Leeds, University of Salford, University of South Wales, University of the West of England Bristol, University of Westminster and Winchester School of Art.

The collaboration builds on Barbour’s student competition through the BFC Colleges Council earlier this year, which challenged fashion design students to reimagine tartan through the core values of craftsmanship, recontextualising fabrics through the lens of modernity, whilst still staying true to the original Barbour tartan set.

Three winners will be selected in spring, receiving 5,000 pounds each, alongside the opportunity to participate in an activation with Barbour during London Fashion Week in September 2026.

Paul Wilkinson, group deputy managing director at Barbour, added: “Tartan has played an important part in Barbour’s story since the company was founded in 1894. This competition gives students the chance to reimagine Barbour’s original and authentic tartans in contemporary shapes and fabrics, while remaining true to our heritage.

“Students will also have the opportunity to collaborate with our design team, gaining invaluable insight into how to balance modernity with authenticity, creating designs that truly embody tartan, a timeless symbol of our brand story.”

The call for entries for Dutch Design Week 2026 is now open, inviting designers, cultural institutions, brands and entrepreneurs to submit projects for the upcoming edition, which takes place from 17 to 25 October in Eindhoven. Applications are open until 16 June, with organisers encouraging submissions that reflect the full spectrum of the design field, from speculative and research-driven work to industrial and hands-on projects.

Organised by the Dutch Design Foundation, the event continues to serve as a global stage for both emerging talent and established names. Previous participants include designers and studios such as Maarten Baas, Studio Drift and Formafantasma, underscoring the event’s role in spotlighting innovative ideas and future-focused perspectives.

To support applicants, open walk-in sessions will be held at the Dutch Design Foundation office on selected dates in April, May and June. According to Miriam van der Lubbe, the initiative comes at a time when design plays a crucial role in addressing social and environmental challenges, positioning Dutch Design Week as a platform where ideas can connect with opportunities and shape new ways forward.

The British Fashion Council has unveiled a new long-term strategy aimed at repositioning the organisation as a business accelerator, with a strong emphasis on education, skills development and structured pathways for emerging designers.

The initiative, titled “BFC 2030: Access, Creativity, Growth,” sets out to transform the council from a promoter of British fashion into a strategic platform supporting sustainable business development across the industry. The plan will reshape key events, including London Fashion Week and The Fashion Awards, to function as growth platforms designed to deliver commercial value and wider access.

Stronger links between education and industry

Central to the strategy is the creation of clearer pathways from education into professional careers. The council plans to work more closely with educational institutions and introduce initiatives such as a mini-MBA programme for fashion professionals, alongside redesigned scholarships focused on craft, innovation and manufacturing.

The strategy also aims to integrate funding, education, skills training and partnerships into a connected system supporting talent development at multiple career stages. This approach seeks to move from fragmented support to coordinated pathways that guide designers from study into sustainable business growth.

Supporting future designers

By expanding scholarship programmes and strengthening mentoring, the council intends to provide opportunities for students and early-career creatives to build both creative and commercial capabilities. The redesigned initiatives are expected to accelerate access to industry knowledge and offer practical support for developing resilient businesses.

The organisation also plans to broaden participation beyond London, creating UK-wide opportunities for education and professional development. This shift is designed to increase accessibility for aspiring designers across different regions and backgrounds.

Long-term industry development

The first three years of the strategy will focus on building a structured growth framework, with the fourth year dedicated to measuring impact and scaling initiatives. The council has also set a target to increase revenue to £18 million by 2030, supporting investment in education-linked programmes and industry development.

By strengthening links between education, mentoring and business development, the British Fashion Council’s 2030 strategy positions learning and skills training as central to nurturing future designers and ensuring the long-term resilience of the UK fashion sector.

Final-year fashion students across the UK and Europe are invited to apply for the 2026 Fashion SVP Designer of the Year Award, with submissions now officially open. The competition offers emerging designers the opportunity to present their work live at FASHION SVP, taking place on 28–29 April 2026 at Olympia London.

Open to undergraduate and MA students, the award recognises innovation in design, sustainability and commercial thinking, aiming to bridge the gap between fashion education and industry. Finalists will showcase their collections to buyers, manufacturers and industry professionals, gaining exposure at a pivotal stage in their careers.

Last year’s Designer of the Year was Mingyu Li, an MA Fashion graduate from Kingston University. Judges praised the winning collection for its strong concept, research and execution. A panel of industry experts will again select shortlisted finalists, who will present their work during the event.

Entries close on 6 April 2026.

The award forms part of Fashion SVP, which brings together manufacturers from the UK, Turkey, Portugal and the Far East with sourcing professionals, brands and retailers. The 2026 edition comes as companies reassess global sourcing strategies amid rising costs, sustainability demands and shifting supply chains.

L’Oréal Italia and Istituto Marangoni have launched a new partnership aimed at reshaping beauty education by positioning hair and beauty disciplines alongside fashion and design as creative fields requiring both technical and conceptual expertise.

The initiative, developed with renowned hairstylist Rossano Ferretti, frames modern beauty professionals as hybrid creatives—combining artistry, storytelling and strategic thinking. The programme blends foundational training with specialisations in hair design, make-up and brand management, reflecting evolving industry demands.

The collaboration responds to growing demand for highly skilled talent across the salon and beauty ecosystem, emphasising digital fluency, personalisation and holistic client experience. The approach positions beauty as an increasingly nuanced dialogue between creator and client, rather than a standardised service.

Through new courses—including a three-year undergraduate programme and specialised professional training—the partnership aims to create a new generation of creative practitioners capable of integrating craft, business strategy and cultural awareness.

Overall, the initiative highlights a broader shift in beauty education, elevating hair and beauty disciplines to the same level of creative and intellectual rigour traditionally associated with fashion design.

Kent State University Museum and the Cleveland Museum of Natural History have partnered with the Kent State School of Fashion to present “Fashion & Feather,” a cross-disciplinary exhibition exploring the cultural, scientific and design significance of feathers.

The exhibition opens on Earth Day and runs from April 22 to October 16 at the Cleveland Museum of Natural History. It combines historic fashion pieces, ornithological specimens, cultural artefacts and contemporary student designs to examine the relationship between fashion and the natural world.

Organised by species, including Peacock, Ostrich, Kingfisher and Rooster, the exhibition pairs taxidermy mounts and research objects with feather-adorned garments from the Kent State University Museum’s historic fashion collection. This approach highlights both the functional role of feathers in nature and their adaptation for human adornment.

Curated by Sara Hume in collaboration with the Cleveland Museum’s exhibition team, the project builds on a previous 2018 exhibition titled For the Birds and reflects a growing focus on interdisciplinary collaboration.

The initiative also extends into the classroom. Students from the Kent State School of Fashion created biomimicry-inspired designs using non-animal materials, developed under faculty including Daniel Fladung. Selected works will be displayed in the museum’s Corning Gallery.

A related student fashion show connected to “Fashion & Feather” is planned for fall 2026, with details to be announced.

Slim’s Fashion and Arts School has named an industry expert as its new director, reinforcing its focus on strengthening fashion education and industry alignment in the Philippines.

The school, founded by National Artist for Fashion Design Salvacion Lim Higgins—also known as “Slim”—is widely recognised for shaping generations of Filipino designers and creatives.

According to the announcement, the newly appointed director brings extensive professional experience and aims to enhance the institution’s curriculum, strengthen industry partnerships and expand opportunities for students entering the fashion sector.

The leadership change is expected to further develop programmes that combine technical training with business and creative skills, reflecting evolving demands in the fashion and creative industries.

The move underscores the school’s continued role in nurturing talent within the Philippine fashion ecosystem while adapting its educational approach to contemporary industry needs.

OTB Group has launched the fifth edition of its School of Craftsmanship, an in-house academy aimed at training future talents in Made in Italy luxury manufacturing, during celebrations for Italy’s National Day of Made in Italy.

The programme, hosted at Staff International in Noventa Vicentina, will run two editions in 2026, one beginning in March and another in September, and, for the first time, introduce specialised pathways in collection product development, pattern making and tailoring.

The initiative is designed to pass on artisanal and manufacturing expertise to younger generations, combining classroom learning with hands-on training alongside master artisans. Participants complete a six-month programme that includes workshops, mentoring and a professional traineeship focused on the luxury production cycle.

The launch event was attended by Adolfo Urso and hosted by Renzo Rosso and Ubaldo Minelli. The programme emphasises sustainability, innovation and the preservation of Italian craftsmanship skills.

Since its inception, the academy has trained more than 50 young talents, with over 85 percent subsequently hired within group companies, demonstrating strong employability outcomes.

OTB owns brands including Diesel, Jil Sander, Maison Margiela, Marni and Viktor&Rolf, and the School of Craftsmanship supports the group’s strategy of strengthening the Made in Italy supply chain by developing skilled professionals for the luxury sector.

Form, a platform specialising in luxury vintage, is launching an unusual initiative for an e-commerce site: the creation of a research-based educational lecture series called Form Academy. Announced in mid-March, the project aims to satisfy the public's appetite for knowledge. This audience is now as interested in acquiring fashion knowledge as it is in purchasing products.

The platform highlighted in a statement that academic fashion research has traditionally been confined to universities and museums. Meanwhile, industry discussions largely take place via fragmented digital media. Form explains it wants to make this intellectual history accessible. The programme will allow both amateurs and professionals to deepen their knowledge of the technical origin and value of the pieces.

The initiative from Form also responds to the growing professionalisation of the luxury vintage market. Today, anyone can sell clothing or accessories on second-hand fashion platforms. This international enthusiasm for buying and reselling vintage pieces is accompanied by a keen interest in a now very common term: archives. The word, synonymous with conservation and documentation, has significantly contributed to promoting a scholarly approach to fashion among the general public. This is particularly true for the platform's customers.

“Form was created to document, contextualise and energise fashion through provenance, archival context and recirculation,” Schiabel and Dana Melnychenko, the company's co-founders, recalled in a statement. The duo explained that Form Academy is based on material preserved and presented in Form Archive. This is an editorial and historical database launched by Form, which is accessible online via subscription.

The lecture series will examine the designers and cultural systems that have shaped the history of modern fashion. The first figure to be studied is British designer Alexander McQueen. Cyana Djoher, a doctoral student and archivist, will lead the first courses. Subsequent sessions will feature guest speakers, including historians; archivists; and various industry figures.

Istituto Marangoni has entered the global Top 50 in the QS World University Rankings by Subject 2026 for Art & Design, placing 45th worldwide, a significant jump from its previous Top 100 position.

According to the newly released rankings, the institution recorded strong improvements across key performance indicators, including academic reputation and employer reputation, highlighting growing industry recognition and employability outcomes for graduates.

The Overall Indicator rose from 61.2 to 67.7, while Academic Reputation increased from 62.3 to 67.3. Notably, Employer Reputation saw one of the biggest gains, climbing from 51.4 to 71.4 — reflecting the school’s close ties with the creative industries and its ability to prepare students for professional careers.

'This milestone confirms the strength of our educational model'

“This milestone confirms the strength of our educational model and the growing recognition from industry partners,” said Stefania Valenti, Managing Director of the institution said in a press release.

Founded in 1935 in Milan, Istituto Marangoni trains professionals across fashion, design, and luxury disciplines and now welcomes approximately 5,000 students annually from 108 countries across campuses in global fashion capitals including London, Paris, Dubai and Miami.

The Top 50 entry underscores the school’s continued investment in innovation, academic development and industry collaboration, strengthening its position as a global benchmark in creative education.

The Real Leather Stay Different International Student Design Competition 2026 edition has officially opened submissions, inviting fashion, footwear and accessories students worldwide to present their work on a global platform. Entries are free and open until June 30, 2026.

The competition is designed to connect emerging designers with industry mentors, brands and career opportunities, with organisers positioning the initiative as a launchpad for early-stage talent. Previous finalists have progressed to roles with companies including Dior, Christian Louboutin, Loewe, Balmain and Ulla Johnson.

In 2025, the initiative expanded its industry engagement when Hugo Boss offered a fully funded six-week work experience placement at its operations in Ticino, Switzerland. The prize was awarded to accessories category winner Sara Jaqueline Morandini during the international final in Taiwan. Another previous winner, Jamie O’Grady, later secured a role as associate designer at New Balance.

The 2026 competition invites submissions across three categories — apparel, accessories and footwear — and emphasises commercial awareness, craftsmanship and responsible material use. Shortlisted finalists will present their projects to an international judging panel and compete for professional experiences and industry exposure.

By bringing together educators, brand representatives and design professionals, the RLSD competition aims to strengthen links between fashion education and employment pathways, helping students transition from academic training into global design careers.

The world university rankings published annually by Quacquarelli Symonds (QS), an educational research and consulting firm specializing in higher education analysis, were released this morning. Several Italian institutions appear in the top 100 positions in the QS World University Rankings by Subject for the art and design sector. These include the Politecnico di Milano in seventh place, NABA (Nuova Accademia di Belle Arti) in 41st, Istituto Marangoni in 45th, Domus Academy in 62nd, Politecnico di Torino in 69th, and IED in 78th.

On the podium, in first place, the Royal College of Art in London, in second place the University of the Arts London, in third place The New School, New York City and Paris.

For the 2026 edition, QS analyzed 6,277 institutions in 166 countries worldwide; of these, 1,906, from 100 higher education systems, were classified across 55 academic disciplines divided into 5 thematic areas.

Naba, New Academy of Fine Arts, won 41st place

For the art and design sector, the criteria used in the independent benchmarking analysis include academic reputation, which measures an institution's academic standing globally, and employer reputation, which measures the institution's recognition in the workforce: they evaluate which schools are considered by hiring managers around the world to be the places where the most competent and talented graduates and diploma holders are trained.

"The result highlights the high level of NABA's educational offering and distinctive approach, which integrates the excellence of Italian know-how with an international dimension that, starting from the 2026/27 academic year, will also extend to the new London campus ," emphasized the management of NABA, which ranked 41st in the ranking.

"We are thrilled and deeply proud of this significant advancement. Being reconfirmed as the leading Italian fine arts academy in the world and included for the first time among the top 50 universities in the QS World University Rankings for the art and design sector fills us with satisfaction and confirms our role as a benchmark for artistic and cultural innovation at the international level," said Daniele Bisello Ragno, NABA managing director, in a statement.

"The opening of the new London campus in October also fits into this direction, further expanding student opportunities in a cosmopolitan city experiencing a constant creative buzz. This result is also reflected in the professional opportunities, as demonstrated by the high employment rates: 90% of graduates are employed within a year (94% for two-year and master's programs) and 87% express a high level of satisfaction with their chosen path," added the manager.

Naba, with its campuses in Milan, Rome and soon also in London, offers undergraduate and graduate courses in the fields of design, fashion design, graphics and communication, multimedia arts, new technologies, scenography and visual arts.

"This result confirms the validity of the NABA method, founded on the ability to cultivate and nurture artistic intelligence with an approach that integrates research, experimentation, and design, and which finds artistic practice as one of its central elements," said Guido Tattoni, NABA director, commenting on the 41st place in the prestigious ranking.

A new art history course at the University of Toronto is encouraging students to rethink clothing consumption and explore fashion’s environmental impact.

Titled Considering Sustainable Textiles and Fashions in the Age of Climate Crisis, the fourth-year course—led by curator and lecturer Alexandra Palmer—begins with an unusual challenge: students are asked not to buy any new clothing during the term. The aim is to shift cultural thinking about sustainability and encourage reflection on fashion’s role within planetary boundaries.

The class examines global trends such as rising clothing production, increased consumption and the environmental consequences of fast fashion. Students also learn to identify “greenwashing” and critically assess marketing claims related to climate change and sustainability.

Palmer explained that the goal is to empower students with knowledge and agency, enabling them to make informed decisions about fashion and respond to environmental challenges in their own ways.

By blending art history with sustainability, the course reflects a growing academic trend that situates textiles and fashion within broader discussions about climate crisis, culture and consumer behaviour.

LIM College will host its annual student-produced fashion show on April 10 at The Glasshouse, bringing together industry partners and international collaborators in a showcase of emerging talent.

The event, fully planned and executed by students, will centre on the theme “Global Fashion Fusion,” highlighting how diverse cultures and global perspectives influence contemporary fashion design.

This year, Amazon joins as presenting sponsor, while WWD returns as exclusive media partner for the second consecutive year. The partnerships aim to provide students with industry exposure and insights into the evolving global fashion landscape.

The show will feature collections created by LIM College students alongside work from graduates of ESMOD, part of the Japan Educational Foundation (JEF), which LIM College recently joined. Additional student work in design, animation and gaming from JEF institutions in Japan will also be წარმოდ at the venue, reflecting the increasing intersection of fashion with digital and creative disciplines.

According to LIM College, the event is designed to expand students’ professional development through real-world experience, global collaboration and exposure to industry partners. Representatives from Amazon Fashion and WWD highlighted the importance of supporting emerging talent and providing educational opportunities that align with the demands of a digitally driven fashion industry.

Founded in 1939, LIM College specialises in the business of fashion and emphasises experiential learning through student-led projects, internships and industry partnerships.

A new cohort of designers from Pearl Academy debuted their collections at Lakmé Fashion Week, offering a glimpse into the evolving landscape of creative industries where Artificial Intelligence (AI) is increasingly embraced as a collaborative partner.

Presented under the "First Cut" platform by the Fashion Design Council of India (FDCI) x Pearl Academy, the showcase, titled “C’est Magnifique fAIntastique,” explored the interplay between AI and Human Intelligence (HI) in defining contemporary design "magnificence." The presentation highlighted how generative AI expands creative possibilities, allowing for a wider range of ideas and visual expressions, while human intelligence provides the essential anchors of judgment, craft, and cultural understanding.

The collections are the result of an intensive creative sprint where students collaborated with AI, including OpenAI, to generate visual concepts, develop prints and textures, and render sketches. This AI-led ideation allowed for rapid exploration, which was then refined by the students using human judgment and craft knowledge.

Three acts

The showcase was divided into three acts, each exploring a facet of magnificence shaped by human intent: Magnificent as Mastery & Excellence (inspired by Bengaluru) focused on precision, craftsmanship, and highly resolved outcomes. Magnificent as Meaning (drawing from Jaipur and Delhi) reflected the emotional dimension, emphasizing cultural relevance, narrative, and authenticity. Finally, Magnificent as Grandeur & Scale (inspired by Mumbai) translated expanded possibilities into immersive and larger-than-life expressions. "Fashion today sits at the intersection of imagination and intelligence," said Aditi Srivastava, President, Pearl Academy in a press release. "With C’est Magnifique fAIntastique, our students are learning to collaborate with AI as a co-creator, expanding creative possibilities while applying human judgment to shape meaningful outcomes."

Sunil Sethi, FDCI Chairman, commented on the significance of the theme, noting that the designers' "unrehearsed, original thought process brings forth a new way of engaging with a tech-savvy audience. The theme this year is also in keeping with the engaging intersection between tech and humans, which is only going to get more intense in the coming years."

The showcase positioned AI not as a disruptive force, but as a collaborator enabling designers to move seamlessly across physical, digital, virtual, and hybrid design environments.

Pearl Academy, established in 1993, is an institution with campuses across India. The academy recently announced a collaboration with OpenAI to implement OpenAI Edu across all campuses from the academic year 2026–27, making it the first design-focused institute in India to enable institution-wide AI integration within creative education.

The partnership between Forestami and the Prada Group has introduced a new educational initiative targeted at 100 primary school classes across Milan. This program is central to their effort to instill a foundational understanding of urban ecology in young students.

The initiative aims to position trees as essential infrastructure for improving air quality, biodiversity, and urban liveability. The curriculum utilizes a hands-on approach, combining specialized classroom materials with engaging outdoor workshops.

This educational content draws directly from the expert discourse at the "In the Canopies" conference, which was held as part of the Forestami Academy programme. The conference focused on how Tree Canopy Cover—the measurement of urban areas shaded by trees—is now considered a critical metric for climate resilience and environmental quality. Students will learn about the growing recognition of trees as vital urban infrastructure, a shift highlighted by speakers aligning with EU targets on ecosystem restoration.

This educational program also supports Forestami’s broader, ambitious goal to plant three million trees by 2030, reinforcing Milan’s role as a testing ground for nature-based urban solutions.

For future retail merchandising professionals, a recent report from McKinsey & Company signals a fundamental shift: agentic AI—autonomous systems that can make decisions and take actions—is poised to reshape the industry.

This is especially critical for students to understand, as McKinsey notes that today's merchants spend considerable time on low-value tasks like reporting and data reconciliation. Agentic AI aims to automate these processes, freeing up merchandising teams to concentrate on high-impact areas such as strategy, creativity, and deep customer insight.

Unlike previous analytics or generative AI tools, agentic systems continuously analyze real-time data—including sales, inventory, and external trends—and directly execute actions. This means AI will be actively involved in key merchandising decisions, such as adjusting pricing, optimizing stock levels, and refining product assortments.

McKinsey suggests this move will redefine your future merchandising roles, shifting them away from manual execution. Instead, your focus will be on higher-value activities like strategic planning and brand development. To succeed in this evolving landscape, you will need to acquire new capabilities and adapt to new operating models and organizational structures.

The scope of this change is massive. The report places agentic AI within the broader concept of “agentic commerce,” where AI systems will increasingly mediate purchasing decisions. McKinsey estimates that these AI systems could influence between 3 trillion and 5 trillion dollars in global commerce by 2030.

Ultimately, as retailers face complex challenges and fluctuating demand, the consultancy emphasizes that mastering agentic AI will be essential for improving speed, efficiency, and competitiveness in the next era of digital retail transformation.

A high school student in the US is transforming a passion for vintage clothing into a growing resale business, highlighting the rise of circular fashion among younger generations.

According to the Minnesota Spokesman-Recorder, Oliver Crust, a senior, began thrifting in ninth grade before entering the resale market, sourcing secondhand garments and selling them online through platforms such as Depop, eBay and Grailed.

What started as a hobby has developed into a profitable side venture, with Crust generating around 10,000 USD in sales over several years. Items sourced at low cost—often priced by weight at thrift outlets—are resold at significantly higher prices, sometimes reaching 100–200 USD per piece.

The student has converted part of his home into a workspace, where he cleans, photographs and lists products for sale, demonstrating a hands-on approach to entrepreneurship and branding.

Beyond financial gain, the business reflects a broader shift towards sustainability, with secondhand clothing helping to reduce textile waste and extend the lifecycle of garments.

The story underscores how resale platforms and thrift culture are enabling young entrepreneurs to combine fashion, sustainability and business skills while preparing for future career

The winner of the R|Elan Circular Design Challenge (CDC), Chennai-based label CRCLE, presented its collection ‘DIALOGUE’ at Lakmé Fashion Week x FDCI 2026, highlighting circular design approaches in contemporary menswear.

Founded by Varshne, CRCLE focuses on integrating craft, material innovation and sustainability into its design process. The brand works with more than 100 artisans and over 50 craft communities across India, incorporating materials such as naturally dyed fibres, handwoven textiles and repurposed industrial waste.

The Dialogue collection explored the relationship between material, maker and wearer, emphasising longevity, adaptability and tactile design. According to the designer, the collection aims to reconnect fashion with slower, more intentional production processes.

The R|Elan CDC—developed by Reliance Industries Limited in collaboration with the United Nations in India and Lakmé Fashion Week—supports emerging designers working on circular solutions, offering mentorship and international exposure.

Organisers say the platform continues to position India as a key player in the global shift towards circular fashion, with plans to expand its international reach through initiatives such as an Indo-French edition.

A new programme launched by the British Council is pushing to encourage skill sharing and sustainable creative partnerships between designers from African countries and the UK.

Together with Paul Smith’s Foundation and Projekt, the ‘Create DNA x Studio Smithfield’ exchange programme, running from March 16 to 23 in Addis Ababa, Ethiopia, has brought together six designers from the UK and Sub-Saharan Africa to participate in an initiative promoting collaboration.

The six participating designers, selected in a closed call application by a jury, include Solome Asfaw, from Ethiopia; Reneta Brehna, the UK; Chido Kaseke, Zimbabwe; Bettydora Odhiambo, Kenya; Karoline Vitto, the UK; and Yaku, the UK.

The setup departs from a traditional mentorship model, and instead pushes participants to learn from each other by sharing perspectives on sustainability, craftsmanship, digital innovation, and challenges in their respective markets.

During the programme, designers will still receive access to industry leaders through studio tours, networking introductions, product support and mentorship from Paul Smith’s Foundation’s professional network, as well as showcasing opportunities extending six months post-programme.

International designers will also be hosted within the Fashion Residency at Studio Smithfield, a business development programme for early-career designers which offers free studio space for 18 months and over 80 hours of business training.

In a statement, Farai Ncube, regional arts director for the British Council, said this reflected the organisation’s “commitment to supporting the creative economy across Africa and the UK”.

Ncube continued: “Through authentic collaboration, skills exchange, and mutual respect across cultures, we support designers and creative practitioners in building sustainable enterprises and accessing global markets.

“This cross-continental residency exchange in London and Ethiopia, with an emphasis on craftsmanship and sustainability, will help foster enduring partnerships, facilitate knowledge sharing, and unlock new opportunities for creative talent to thrive and collaborate across borders.”

Schools across northern England have joined a new climate-focused initiative aimed at embedding sustainability and environmental awareness into education.

The programme encourages schools to take practical action on climate change while integrating sustainability into everyday learning, helping students understand environmental challenges and develop skills for a greener future.

Participating schools will work on projects linked to reducing carbon footprints, improving biodiversity and promoting environmental responsibility within their communities. The initiative also supports teachers with resources and frameworks to incorporate climate topics across different subjects.

The move reflects a broader push in the UK education system to strengthen climate education and prepare young people for careers and societal changes linked to the green transition.

Organisers say the initiative not only raises awareness of climate issues but also empowers students to take tangible action, positioning schools as key drivers in the transition to a more sustainable future.

L’École Internationale de Mode & Luxe (EIDM) is pleased to announce the appointment of Aline Meynard as director of the Paris campus. With extensive experience at major fashion and luxury houses, Meynard will bring her strategic vision, keen management skills and passion for education to the school.

Expertise at the intersection of business, fashion and transformation

A seasoned professional in the luxury, fashion and lifestyle industry, Meynard has held management positions at major players such as Ralph Lauren, Balenciaga, AMI Paris, Roseanna, Carven and Maison Kitsuné. Her international career has taken her to Paris, Geneva, Milan, Lugano and London. This experience gives her a comprehensive understanding of the economic, cultural and sustainability issues currently redefining the industry.

Trio of skills for EIDM

What distinguishes Meynard and adds value to her appointment is based on three key areas:

Extensive knowledge of the fashion and luxury industry, gained from over 20 years with companies undergoing growth or transformation.

Recognised expertise in business management and strategic direction, particularly in supply chain, CSR and operational transformation.

A strong commitment to education, demonstrated through her ongoing involvement in training, leadership development and mentoring young talent.

Vision for the Paris campus

As head of the EIDM Paris campus, Meynard aims to strengthen the school's academic and international reputation. She will achieve this by promoting pedagogical innovation and the professional development of students. Meynard will also champion the ambition to make EIDM a centre for reflection and experimentation on new sustainable models in fashion.

“My experience and ambition enable me to align EIDM's courses with the real needs of the sector's professions and companies. It is a great responsibility to prepare this generation to find a job, often a passion, in an industry that is both resilient and undergoing profound change. Fashion and luxury are among the most polluting industries. Training today, therefore, also means learning to design differently. Education must integrate eco-design, responsible supply chains and new business models if we want to build a sustainable future for this sector.” — Aline Meynard

About EIDM

A true benchmark for teaching excellence, EIDM offers professional courses from bachelor's to master's level. These courses cover styling, art direction, communication, marketing, and the business of fashion and luxury. As a pioneer and visionary, EIDM is characterised by its international focus, with 16 partner universities worldwide. It also boasts an 85 percent employability rate within six months of graduation, its ambassadors, exceptional collaborations, and an alumni network within luxury and haute couture houses such as Dolce & Gabbana, Alaïa, Jean Paul Gaultier, Versace, Mugler, L'Oréal, and Vogue. https://www.ecoledemode.fr

About ACE Education

ACE Education is a major player in higher education in France. It offers certified courses from bachelor's to master's level in sports management; hospitality; luxury tourism; applied arts; design and fashion. These are delivered through its six schools: AMOS Sport Business School and ESBS, sports management schools; ESDAC, school of design; CMH, Centre de Management Hôtelier International de Luxe; EIDM, École Internationale de Mode et Luxe; and ENAAI, École d’Arts Appliqués, BD et Illustration. The group offers a variety of programmes across its 44 campuses in France and abroad. It places a strong emphasis on international experience and professional development at the core of the student experience.

The Fashion Law Institute Africa has released the third edition of its Top 100 Women in African Fashion list, recognising leading figures driving innovation, leadership and growth across the continent’s fashion industry.

Unveiled in Lagos in March 2026, the list highlights women working across a wide range of sectors, including fashion business, styling, modelling, textiles, sustainability, technology, education and fashion law—reflecting the full breadth of the industry’s value chain.

The initiative aims to spotlight the individuals shaping African fashion’s growing global influence, with the Institute noting that the honourees are “building businesses, changing laws, teaching the next generation, and reimagining what fashion means.”

Designers and policymakers

Among those recognised are policymakers and industry leaders such as Eme Bassey, alongside key figures including Funmi Ladipo of the Nigerian Fashion Council and Grace Efiong of the Fashion Law Institute Africa. Designers and entrepreneurs featured on the list include Bethlehem Tilahun Alemu, founder of SoleRebels, and Reni Folawiyo, founder of the Alára concept store.

The 2026 edition expands its geographic scope, featuring honourees from countries including Rwanda, Egypt, Uganda, South Africa and Senegal, underscoring the increasingly pan-African nature of the industry.

The programme forms part of the Institute’s broader efforts to support the development of African fashion through education, advocacy and recognition of key industry contributors.

The University of Palermo has launched a new academic workshop as part of its “Real Works for Real Clients” programme, reinforcing the link between design education and industry collaboration.

Developed within the university’s Bachelor of Design, the initiative brings students together with professionals and companies to work on real-world projects. The latest workshop focuses on a case study presented by Solar Concept Gallery, led by architect Sol Juárez, who shared insights into the creative process behind transforming ideas into tangible products and spaces.

The programme also includes input from Juan Ignacio Serrot, CEO of Metrar, who highlighted the role of materials and industrial processes—particularly aluminium extrusion—in turning design concepts into viable products.

Students are tasked with developing innovative proposals that balance creativity, functionality and production feasibility. Their projects will be evaluated by a jury of industry professionals at the end of the semester.

According to Daniel Wolf, director of the Bachelor of Design, the initiative helps students understand how creative thinking integrates with production systems and market demands.

The programme reflects a broader shift in design education, where collaboration between universities, businesses and creative professionals is increasingly seen as essential to driving innovation and strengthening the creative economy.

A professor at Toronto Metropolitan University is working to address long-standing gaps in fashion education by focusing on patternmaking for plus-size bodies.

Leila Kelleher, a fashion scholar at the university’s School of Fashion, has co-authored a new textbook titled Plus-Size Patternmaking for Womenswear with technical designer Gabby Brown. The publication is described as the first textbook dedicated entirely to patternmaking for plus-size garments, an area that has historically been overlooked in fashion curricula.

Traditional fashion education has long centred on standard sample sizes and thin body types, leaving students and industry professionals underprepared to design clothing that fits a wider range of consumers. The book aims to address this issue by providing step-by-step guidance on drafting patterns specifically for plus-size bodies and explaining considerations such as body proportions, mobility and garment fit.

According to Kelleher, the goal is to make this knowledge more accessible to educators and students so that size-inclusive design becomes part of standard training in fashion programs. By integrating these techniques into classrooms, the authors hope to improve garment fit and encourage future designers to create clothing for a broader range of body types.

The initiative reflects a broader shift within fashion education toward inclusivity and diversity in design practices. By introducing dedicated resources for plus-size patternmaking, the project seeks to equip the next generation of designers with the skills needed to serve a wider and more representative market.

The Next Gen Design Competition 2026 has launched its open call, inviting young designers across Europe to submit projects exploring the theme “Futures Worth Living.” The initiative encourages creatives aged 18 to 35 to develop human-centred design solutions addressing environmental, social and cultural challenges.

Organised by a consortium of European design platforms, the competition aims to support emerging designers working on regenerative, inclusive and sustainable design practices. Fifty selected projects will join the Next Gen Design Cohort 2026, gaining international exposure and professional development opportunities.

Winning projects will be showcased through a travelling exhibition debuting at Mikser Festival before appearing at What Design Can Do Live, Vienna Design Week, Barcelona Design Week and Skopje Design Week later in 2026.

Selected designers will also participate in fully funded residency programmes in partner cities, where they will collaborate on local design challenges during intensive workshops and present their ideas to expert juries. Regional prizes totalling €2,000 per residency will support further development of selected projects, with awards distributed among three winners.

Submissions will be reviewed by an international jury including designers, entrepreneurs and sustainability advocates such as Henriette Waal, Juan Umbert, Nikola Radeljković, Elli Schindler and Emile Smeenk.

Applications are open to designers born, studying or living in Europe. Submissions must be completed through the online application portal by March 24, 2026.

Broader initiative

The competition is part of the broader Next Gen Design initiative, a three-year programme developed by What Design Can Do, designaustria, Barcelona Creativity & Design Foundation, Mikser Festival and Skopje Design Week. The initiative aims to support emerging designers while promoting circular and socially responsible design practices aligned with the goals of the European Green Deal.

Eligible applicants can find submission guidelines and further details on the official competition website.

Long coveted for its golden colour, scientific value and alleged healing properties, young Polish jewellers are transforming ancient amber into trendy pieces for the contemporary consumer.

Designers working with the translucent fossil are combining traditional tools like drills, sanders, blasters and power saws with state-of-the-art technology at the Academy of Fine Arts in Gdansk, a city on Poland's Baltic Coast known as the global amber capital.

In virtual reality studios, students use their screens to silently assemble objects that spin, whirl and twist, and may one day become a new generation of prized jewellery.

"From the very start, we learn the complete processes (of design), how to apply our creativity to them, how to use diverse technologies," student Martyna Golinska, 26, told AFP.

She is particularly drawn to the CNC numerical milling technique, most often used in the aerospace, automotive and medical industries.

'Hacking' technology

For fellow student Paulina Smigiel, the challenge in these simulations is to translate one's artistic vision into the language of numbers a machine can understand.

"If we succeed," she said, "no other mechanical intervention is necessary".

This is how rings, necklaces, bracelets, masks, tiaras and more are brought to life: made from or adorned with amber dipped into or wreathed in gold, silver or titanium.

Whether they are milled or 3D-printed, standalone pieces or combined with other stones, minimalist or complex, they are not the traditional pieces of amber jewellery synonymous with Polish gift shops.

"We encourage students to look for their own keys, their own ways of 'hacking' different technologies, whether they are traditional or more recent, or still only just appearing on the horizon," said 26-year-old graduate-turned-assistant instructor Zuzanna Franczak.

"It's constantly evolving, and artificial intelligence is already starting to make an appearance," she added.

'Amber road'

The students' creativity is showcased in pieces and catalogues as well as at a dedicated exhibition at the Amber Museum along the Baltic Coast, on what was once known as the "Amber Road".

One of the most important trade routes of classical antiquity, it was here that so-called "Baltic gold" was transported to the Mediterranean.

Formed some 40 million years ago from conifer resins, amber often contains air bubbles, plant fragments or insects trapped before fossilisation, granting each piece a unique "fingerprint".

Once lauded by Ovid, Nero and Pliny the Elder, amber is prized in China for its supposed therapeutic properties and sought-after in the Muslim world, most notably for use in prayer beads.

In Gdansk itself, workshops, shops and stalls dedicated to amber abound on every corner of the historic centre, each attracting flocks of tourists.

'Something new'

For centuries, amber has been associated with traditional patterns which are still used by many local artists and artisans, according to 21-year-old student Dominika Afeltowicz.

But while their old-fashioned "holiday souvenir" appeal endures, "young people are looking for something new", she told AFP.

Budding designers like her must therefore "experiment" and "push the limits", she said.

Relatively malleable, amber lends itself perfectly to experimental design, bending easily to the designer's will.

The delicate material -- whose colours range from dark red to opaque white -- retains its distinct qualities throughout the working process.

"This colour range means you can create similar shapes that each produce... utterly unique effects," said Paulina Smigiel.

Her workshop is led by designer and jewellery artist Slawomir Fijalkowski.

"We're opening doors," he said of the classes, adding that he and his students "are learning together the difficult art of constantly forgetting and re-learning".

It is then up to the students to choose their own path, somewhere between "ready-to-wear" design and "haute couture".

Fijalkowski believes they will be ready to work just as well for industry as for art galleries around the world, simply because of the "good design" they represent.(AFP)

Momentum, a company based in County Leitrim is contributing to a new international project aimed at strengthening fashion and creative education across Europe.

The initiative brings together partners from multiple countries to develop new training opportunities and collaborative learning models for people working in fashion, design and related creative sectors. The project focuses on building skills, encouraging innovation and connecting emerging designers with industry networks.

The Momentum organisation involved in the initiative is working alongside universities, creative organisations and small businesses from across Europe. Through workshops, mentoring and collaborative research, the project aims to help participants develop practical skills and adapt to changing industry demands.

Projects of this type are typically funded through European research and innovation programmes and focus on fostering cross-border collaboration between education providers and industry stakeholders. They often address broader themes such as sustainability, digital skills and entrepreneurship in the creative sector.

Local initiatives and programmes

Local creative and design initiatives in Leitrim have increasingly participated in international partnerships. Regional programmes such as Creative Heartlands have also supported training, mentoring and networking for creative professionals, helping strengthen the region’s role in Europe’s wider creative economy.

By participating in international educational collaborations, Leitrim-based organisations are contributing to efforts aimed at preparing emerging designers and creative professionals for a rapidly evolving fashion and design industry.

Instappraise has renewed and expanded its educational partnership with the National Association of Jewelry Appraisers (NAJA), introducing a third scholarship designed to support professional training in jewelry appraisal.

The initiative aims to strengthen education standards within the appraisal profession and improve access to formal qualifications as industry requirements and consumer expectations evolve.

Under the renewed programme, three scholarships will support professionals at different stages of their careers: one for non-members entering the field, another for existing NAJA members seeking certification, and a third for certified members aiming to achieve the Certified Master Appraiser designation.

Recipients will gain access to NAJA’s appraisal studies courses alongside a one-year subscription to Instappraise’s appraisal software platform, which is designed to help professionals produce reports compliant with the Uniform Standards of Professional Appraisal Practice (USPAP).

Applications for the scholarships close on June 15, 2026, with winners to be announced during NAJA’s 66th Annual ACEit© Mid-Year Education Conference in August 2026.

The Functional Fabric Fair Spring 2026 will bring three days of expert-led education and sourcing opportunities to Portland, Oregon, from April 7–9, 2026 at the Oregon Convention Center.

The trade event—powered by Performance Days—will combine industry insights with sourcing for Spring/Summer 2027–2028 collections. Designers, product developers and material specialists will explore innovations in performance textiles, sustainability strategies and regulatory developments shaping the sector.

The programme begins on April 7 with a full-day sustainability workshop featuring sessions on policy updates, supply-chain collaboration, packaging regulations and textile-to-textile recycling technologies. The workshop will be led by industry experts including Eric Brody, Todd Copeland and Kevin Myette.

Across April 8–9, the event’s Expert Talks series will feature more than ten sessions covering topics such as circularity, performance science, colour and trend forecasting, and next-generation materials. The show will also host more than 300 suppliers presenting sustainable fabrics, trims and accessories for the global apparel industry.

According to organisers, the educational programme is designed to provide product teams with practical insights and strategies that can be applied to future collections as the industry navigates evolving sustainability and innovation challenges.

PXL-MAD School of Arts has introduced Fashion Technology Futures, a one-year postgraduate programme designed to explore the intersection of fashion, technology and emerging creative systems.

Launching in October 2026, the programme responds to the growing impact of digitalisation, artificial intelligence and new production models on the fashion industry. Rather than treating technology simply as a tool, the course positions it as a creative language that shapes how fashion is designed, produced and experienced.

The curriculum will cover areas such as digital fashion, speculative design, AI and emerging technologies, artistic direction and visual storytelling, alongside new workflow and production models. It also encourages critical reflection on the systems influencing the industry.

Future focused portfolios

The programme is coordinated by designer Flora Miranda and was developed in collaboration with Ann Claes, Taskin Goec and Lola Ilegems. It is aimed at designers, artists and technologists working across disciplines who want to develop hybrid creative practices and future-focused portfolios.

Embedded within PXL-MAD’s interdisciplinary ecosystem, the postgraduate programme seeks to prepare a new generation of creatives to actively shape the future of fashion through technology and experimentation.

US luxury label Carolina Herrera has partnered with the Council of Fashion Designers of America (CFDA) to support the 30th anniversary edition of the organisation’s scholarship programme.

The brand announced the partnership on Instagram, where it revealed, together with the CFDA Women in Design Scholarship, that two Bachelor of Fine Arts fashion design students from New York had been selected as recipients for this year’s funding.

The duo, recognised for their “creative technical innovation and luxury craftsmanship”, will each receive scholarship support alongside a summer internship with the design team at Carolina Herrera.

In a statement, the brand’s creative director, Wes Gordon, said: “Mrs. Herrera began her career because another woman, Diana Vreeland, believed in her talent. This scholarship is about honouring craft, celebrating innovation, and ensuring that creative ambition is met with real opportunity.”

More broadly, the CFDA’s Scholarship Fund has also opened wider applications for third-year undergraduate and graduate students, who are invited to apply by April 10. 2026. This year’s specialisations include womenswear, menswear, unisex, accessories, textiles, knitwear and jewellery.

Over three decades of operating, the CFDA said its Scholarship Fund has awarded around 5.9 million dollars through 415 scholarships, as it looks to back emerging talent across the US. The organisation said this year marks the largest amount ever awarded to students, amounting to 1.52 million dollars in total funding.

Myntra has launched MynShakti 2.0, the second phase of its women entrepreneur support programme aimed at scaling women-led fashion, beauty and lifestyle brands. The initiative, part of Myntra’s ShECommerce platform, aims to support 100 women-led businesses across the three categories.

The first edition of the programme supported 20 women entrepreneurs, many of whom were early-stage brands with fewer than 50 products. Through access to Myntra’s marketplace, logistics support and digital commerce infrastructure, participating businesses were able to expand their reach and strengthen their brand presence nationwide.

MynShakti 2.0 will offer structured support including onboarding assistance, dedicated account management for six months and mentorship through expert-led webinars covering marketing, order fulfilment and platform optimisation.

The programme also introduces a vernacular video series designed to make onboarding resources more accessible to entrepreneurs from Tier 2 and Tier 3 cities across India.

According to Myntra, the initiative aims to help women-led businesses transition from local enterprises into nationally recognised brands while promoting a more inclusive digital commerce ecosystem.

Binghamton University has appointed Alesha Bowman as director of its Promise Scholars Initiative, a programme designed to improve student retention and strengthen a sense of belonging on campus.

According to the university, Bowman joined Binghamton in October 2025 and is preparing to launch the programme’s pilot cohort in fall 2026. The initiative will support second-year students through graduation with academic planning, mentorship and access to campus resources.

The programme’s flagship component, Passport to Promise, will initially include a cohort of around 25 students and aims to help participants overcome challenges that can affect retention and degree completion. Support may include guidance on time management, academic pressures and connecting students with university services.

Before joining Binghamton, Bowman served as an assistant professor in the Fashion Buying and Merchandising programme at Herkimer College and led the SUNY Advancing Success in Associate Pathways (ASAP) student success initiative. Her background combines experience in higher education administration with an earlier career in fashion merchandising.

University officials say the programme aims to improve graduation outcomes and student engagement while advancing broader goals around inclusion and student success.

Georgia Southern University has been named one of the leading fashion merchandising schools in the United States by Fashion-Schools.org.

In a review evaluating more than 200 institutions based on criteria including academics, admissions, programmes and faculty, Georgia Southern ranked No. 49 overall, placing it in the top 25 percent of schools nationwide. The programme also ranked ninth on the list of the Top 15 Fashion Schools in the South.

Other Georgia institutions included in the Top 75 list were University of Georgia (No. 17), Brenau University (No. 67) and Clark Atlanta University (No. 68).

The university’s Fashion Merchandising and Apparel Design programme currently enrolls more than 200 students. The curriculum combines creative design with business and industry training, covering areas such as garment production, retail merchandising, textile development and fashion history.

Students also gain international exposure through study trips and internships in global fashion hubs such as Paris, London, Rome and New York, preparing them for careers in design, buying and other fashion industry roles.

Rocky Mountain College of Art + Design (RMCAD) is highlighting the growing importance of sustainability in fashion, emphasising how responsible design practices are reshaping the industry and the way emerging designers are trained.

In a recent release, the Colorado-based institution noted that sustainable fashion involves reducing waste, minimising environmental impact and considering ethical responsibility throughout the design process—from material sourcing to product longevity. Designers are increasingly exploring recycled or alternative fibres, low-impact dyes and production methods that help limit waste.

Beyond material choices, the concept also encourages designers to prioritise durable construction, versatile garments and timeless silhouettes that extend a product’s lifecycle and reduce the need for frequent replacement. Upcycling and repurposing existing garments are also gaining traction as creative strategies within contemporary design practice.

RMCAD integrates these principles into its Bachelor of Fine Arts in Fashion Design programme, offered both on campus and online, where sustainability concepts are taught alongside core design skills. The approach aims to prepare students to balance creativity with environmental responsibility as sustainability becomes an increasingly important factor in the global fashion industry.

The United Nations Development Programme (UNDP) has spotlighted the impact of inclusive vocational education through the story of a young fashion student gaining new opportunities in Hebron.

According to UNDP, 20-year-old Nada Bouti is studying fashion design and tailoring at the Al-Amal Vocational Training Center for People with Hearing Impairment. The centre was renovated and equipped with support from UNDP, in partnership with the Palestinian Centre for Communication and Development and funded by the Government of Germany through KfW.

The initiative has enabled students with hearing disabilities to continue their education while developing practical skills that can lead to employment in the fashion sector. Training includes pattern drawing, garment construction, tailoring and sewing-machine operation, all taught in sign language to ensure accessibility.

Specialized workshops

UNDP reports that the vocational centre now offers specialised workshops in areas such as sewing, cosmetology and electrical installation, helping students acquire market-relevant skills and prepare for careers. The project has already benefited hundreds of individuals, including students and their families.

For Bouti, the programme represents a pathway to independence and creative expression. Her long-term goal is to become a fashion design instructor and help others with hearing disabilities pursue careers in the industry.

The Kent State University School of Fashion will induct Fern Mallis into its Fashion Hall of Fame during its annual Fashion Week celebrations in May 2026.

Often referred to as the “Godmother of Fashion Week,” Mallis is widely credited with transforming New York Fashion Week into a globally recognised fashion industry platform. During her leadership, shows were centralised at Bryant Park, helping elevate the international profile of American designers and bringing greater cohesion, sponsorship and media attention to the event.

The induction recognises Mallis’ decades-long influence on the fashion industry, including her roles at the Council of Fashion Designers of America and as senior vice president at IMG Fashion. She later founded her own consulting firm and continues to support emerging talent through mentorship and industry initiatives.

Mallis will visit the university to deliver the annual Hall of Fame lecture on May 1, followed by the induction ceremony on May 2 as part of the school’s annual fashion show, which highlights the work of graduating design and merchandising students.

Established in 1989, the Kent State School of Fashion Hall of Fame honours individuals whose leadership and contributions have significantly shaped the global fashion industry and inspired new generations of designers and professionals.

Students at Arizona State University are being encouraged to rethink their relationship with fashion through Fashion Forward, a campus clothing drive focused on sustainability and community sharing.

According to student newspaper The State Press, the initiative allows members of the ASU community to donate unwanted clothing and then shop for free items collected during the drive. Alongside the clothing exchange, the event also offers workshops and educational activities designed to raise awareness about sustainable fashion practices.

The event is organised by the university’s Staff Council Sustainability Program and has been running for five years. Planning for the 2026 edition began roughly ten months in advance, with donation boxes placed around campus in late 2025 to gather garments for the drive.

Organisers say the initiative aims to reduce textile waste while helping students access affordable clothing. “Education is an integral part of this event — it’s action and education,” said Halie Cousineau, associate director of the International Students and Scholars Center and lead organiser of Fashion Forward.

By combining clothing redistribution with sustainability workshops, the programme seeks to encourage students to adopt more responsible consumption habits and rethink the lifecycle of fashion products.

Fashion World Tokyo will return to Tokyo Big Sight from April 8 to 10, 2026, bringing together Japanese craftsmanship, emerging designers and sourcing solutions for the global fashion industry.

Organised by RX Japan, the three-day event aims to connect international buyers, retailers and fashion professionals with manufacturers and suppliers across apparel, textiles and accessories.

Technical skills and craftsmanship

A key feature of the event will spotlight Japanese companies known for advanced technical skills and traditional craftsmanship, including expertise in dyeing, sewing and innovative textile development. The showcase is designed to help global merchandisers and retailers identify partners for supply chain innovation and international growth.

Another section will focus on emerging Japanese designers presenting original products that reinterpret traditional techniques and incorporate sustainable materials and upcycled designs. The area is intended as a discovery platform for boutiques and select shops seeking distinctive brands.

The event will also facilitate connections with OEM and ODM manufacturers capable of meeting Japan’s high production standards, offering opportunities for brands looking to expand sourcing or enter the Japanese market.

FaW Tokyo, Japan’s largest international fashion trade show, is expected to host around 700 exhibitors from 20 countries and 20,000 visitors from 50 countries, covering sectors including fashion brands, sustainable materials, sportswear, eyewear and fashion technology.

The exhibition takes place twice a year and serves as a key platform for industry networking, sourcing and business development in the Asian fashion market.

Emerging designers are set to take centre stage at Fashion Week El Paseo, one of the largest fashion showcases on the U.S. West Coast, highlighting the next generation of creative talent in the industry. The annual event takes place at The Gardens on El Paseo, bringing together established designers, retailers and fashion students for a series of runway shows and industry events.

A key highlight of the programme is the Next-Gen Designer showcase, where students from Istituto Marangoni Miami present their collections to a live audience. The show provides a platform for emerging creatives to gain visibility and experience in a professional runway environment while introducing fresh perspectives to the fashion scene.

The collections typically feature a mix of streetwear, eveningwear and experimental designs, often inspired by personal narratives, global trends and cultural influences. The student showcase is supported by arts patron Jordan Schnitzer, who also sponsors educational initiatives that allow local high school students to attend the event and learn about the fashion industry behind the scenes.

Through initiatives like this showcase, Fashion Week El Paseo aims to bridge fashion education and industry exposure, giving young designers the opportunity to present their work to buyers, media and fashion professionals while inspiring the next generation of creatives.

The UK Fashion & Textile Association (UKFT) has launched a cross-sector initiative to address challenges in how graduate employment outcomes are classified for fashion and textile courses in the UK.

UKFT says current Graduate Outcomes data — a national survey run by the Higher Education Statistics Agency that records what graduates are doing 15 months after finishing their studies — does not always reflect industry realities. Roles such as assistant buyer, merchandising, production and technical studio positions are often categorised in ways that make them appear as non-professional outcomes, despite reflecting graduate-level skills and responsibilities.

To address these issues, UKFT has been engaging with Jisc, government data agencies and national statistical bodies to explore updates to the Standard Occupational Classification (SOC) system. The aim is to ensure that employment data better aligns with the evolving fashion and textile sector’s career pathways.

The association will also work with education leaders to improve understanding of how Graduate Outcomes data is collected and used, including hosting guidance sessions at its upcoming Education Partner Conference. UKFT says accurate classification is critical for course evaluation, regulatory reporting and safeguarding the sector’s skills pipeline.

Report

Each season, Paris Fashion Week welcomes new brands, whether they are joining the Fédération de la Haute Couture et de la Mode (FHCM) calendar or presenting their collection on the sidelines.

On Monday, March 2, 2026, students from the Institut Français de la Mode (IFM) and the brand Co kicked off the first day of Paris FW March 2026, unveiling their autumn/winter 2026/2027 collections.

IFM show or the creative surge of a new fashion generation

23 students from 13 nationalities, part of the IFM's Master of Arts in Fashion Design and Knitwear Design programme, opened Paris Fashion Week. It was a first for them. Each student presented five or six looks, representing a comprehensive project.

With no commercial stakes and no CSR constraints, as the designs are produced as single units, creativity reigns supreme. Many partners were also involved in the show.

The students benefit from educational support from houses such as Hermès, Chanel, Dior, Loewe, Balenciaga, Alaïa, and Givenchy; support from Défi de la Mode; partnerships with companies like Make Up For Ever Academy and Real Campus by L’Oréal; and sponsorship from a wide network of textile suppliers and manufacturers, notably the Groupement de la Fabrication Française and HModa.

For example, Bérénice Rohrer-Missiaen received support from Rilievi, an Italian company specialising in textile development and material sampling, and from Teintures de France, who embroidered certain pieces based on her drawings.

Her project involved adapting her comic strip onto clothing, inspired by her own hitchhiking experiences and the emotionally charged encounters that left a mark on her. The result is a highly graphic collection characterised by a strong presence of prints.

For “Beyond the Frame”, Rohrer-Missiaen did not hesitate to step outside the dominant aesthetic of slender models.

To push the boundaries even further, Théa Lemaire presented a collection titled “Sale Connes”, a direct reference to a controversial phrase by the first lady.

Finally, to name just a few, Paula Lessel, Borja Fernandez Garcia and Alexis Lopez Angeles chose to integrate the potential of artificial intelligence into their creative research with Limn.ai, an AI research lab, thanks to support from LVMH. They were undoubtedly driven by the need to think outside the box.

In the creative surge that is the IFM show, each look represents a space of freedom won from a fashion landscape subdued and darkened by the international context.

Co, a strategic entry to the FHCM calendar

After several Parisian presentations, Co has made its debut on the official FHCM calendar. Founded in 2011 and led by Stéphanie Danan, the brand “Co” stands for “collaboration”. It is now positioned between Los Angeles and Paris.

Co offers a womenswear wardrobe of “emotional minimalism”: clean silhouettes, sculptural volumes, and premium materials like cashmere flannel, which is the brand's DNA, soft leather, or suede.

The design approach is centred on the concept of wardrobing, with a focus on practicality, longevity, distinction, and a claimed balance between American pragmatism and Parisian refinement.

Among the collection's pieces, the blazer with particularly voluminous sleeves, creating a balloon effect at the back, could well be a must-have for autumn/winter 2026/2027.

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Global Fashion Agenda and Visa Launch ‘Recycle the Runway’ to Support Circular Fashion Entrepreneurs Global Fashion Agenda (GFA) and Visa have launched Visa Young Creators: Recycle the Runway, a new programme aimed at supporting emerging European designers working in circular fashion.

Powered by Visa and GFA, the initiative seeks to accelerate the transition to a circular fashion system by backing creative entrepreneurs who integrate practices such as resale, repair, rental and redistribution into their business models. The programme will select 15 winners, offering financial support, mentorship and industry exposure.

Ten winners will share €50,000 in funding, while four additional recipients will each receive €10,000, mentorship and an invitation to participate in the Global Fashion Summit: Copenhagen Edition 2026, taking place on 6–7 May in Copenhagen. One Grand Prize Winner will be awarded €20,000 alongside the same benefits.

Applications will be reviewed by a jury of industry experts, including representatives from Vogue, eBay, the British Fashion Council, and Visa Europe. Author and podcaster Gemma Styles will serve as programme ambassador and jury member.

The programme is open to Europe-based fashion businesses operating for at least one year and aligned with circular activities. Shortlisted applicants must be available to attend the Copenhagen summit in May.

Heathfield School Ascot has hosted a two-night, sold-out student fashion show that drew comparisons to professional industry events.

The showcase, titled NEXUS, welcomed 250 guests and featured nearly 100 original garments designed, constructed and modelled entirely by students. The event explored the intersection of heritage and innovation, blending traditional craftsmanship with contemporary design approaches.

Students led every aspect of the production, taking on roles as designers, models, stylists and technical directors. The runway incorporated AI-generated projections and digital artistry, creating an immersive visual experience aligned with the show’s theme of merging past and present in fashion.

Headmaster Jonathan Williams said the event demonstrated students’ creativity, leadership and ambition, highlighting the value of giving young people responsibility in large-scale projects.

Among the attendees was alumna Charlotte Stockdale, an international stylist who has worked with Karl Lagerfeld. She praised the standard of the garments and the overall production.

The event forms part of the school’s broader focus on fostering creativity, enterprise and technical skills, with further student-led initiatives expected in the future.

The APICCAPS has relaunched its Knowledge Roadshow initiative for the third consecutive year, strengthening ties between Portugal’s footwear industry and the school community.

Integrated into the Bioshoes4all project and supported by Portugal’s Recovery and Resilience Plan (PRR), the programme forms part of the Footwear Cluster Strategic Plan 2030. It comes at a time when the European fashion sector is expected to require approximately 500,000 new employees by the end of the decade, according to European Commission estimates.

Since 2024, the initiative has reached around 4,000 students across key footwear manufacturing hubs including Felgueiras, Guimarães, Oliveira de Azeméis, Santa Maria da Feira and São João da Madeira. Initially focused on primary school pupils, the programme has since expanded to lower secondary students, introducing themes such as the “factory of the future” and the technological and sustainable transformation of the sector.

APICCAPS President Luís Onofre said attracting highly qualified professionals is a priority as the footwear and leather goods sector advances towards greater innovation and sustainability. He added that closer collaboration with schools and municipalities is essential to challenge outdated perceptions of industrial careers.

The three-year Knowledge Roadshow underscores the Portuguese footwear industry’s efforts to promote young talent and prepare the sector for workforce demands through 2030.

Paris College of Art (PCA) has announced the launch of a new Master of Arts in Critical Fashion Practices, set to begin in September 2026. Applications for the English-language program are now open.

The graduate degree arrives at a time of heightened scrutiny for the global fashion industry, which has faced ongoing criticism over environmental impact, labor practices, and economic instability. Industry reports estimate that approximately 92 million tons of textile waste are generated worldwide each year, while brands continue to contend with sustainability pressures, supply chain disruptions, and shifting consumer expectations.

According to PCA, the new program is designed to address these systemic challenges by rethinking the role of fashion education. Rather than focusing primarily on traditional design output or market-driven production cycles, the curriculum emphasizes critical theory, research methodologies, speculative design, and experimental material practices.

The program is structured around the concept of “de-sign,” described by the college as a process of dismantling dominant systems in order to reimagine alternative futures for fashion. Students will be encouraged to examine fashion as a cultural, political, and economic system, exploring its connections to capitalism, colonial histories, climate change, identity, and power structures.

Lucas Maethger, Chair of the MA in Critical Fashion Practices and the BFA in Fashion Design at PCA, said the program responds to growing calls within academia and the industry for more reflective and accountable approaches to design education.

Slower design and fewer products

“The fashion system is no longer in need of faster designers or more products, it is in need of critical disruption,” Maethger said in a statement released by the college. He added that education must play a leading role in reshaping the industry in light of systemic waste, labor exploitation, and creative burnout.

The research-led, studio-based program integrates theoretical inquiry with material experimentation. PCA states that graduates may pursue careers not only in design, but also in research, curation, writing, strategy, sustainability leadership, and education, both within and beyond the traditional fashion sector.

Founded in 1986, Paris College of Art is an independent higher education institution offering undergraduate and graduate programs in art, design, and related disciplines. Instruction is conducted in English, and the college serves an international student body.

PCA said the new MA is intended for designers, artists, and researchers seeking to challenge prevailing fashion systems and explore alternative models of production and cultural engagement. The program will be based at the college’s campus in Paris, positioning students within one of the world’s major fashion capitals.

Additional information about the program is available on the college’s website.

Jewelers Mutual Group has announced a $10 million, 10-year investment in bench jeweler education at the Savannah College of Art and Design (SCAD), marking the largest financial contribution to the university’s jewelry program to date.

The alliance aims to address a growing talent shortage in the jewelry industry, where retirements are outpacing new entrants and an estimated 4,000 bench jewelers are needed annually to maintain capacity.

Bench jewelers are skilled professionals responsible for fabricating, repairing and restoring fine jewelry.

The funding will support the Bench Education Endowment (B.E.E.) scholarship fund, expanded academic programming, upgraded jewelry-making technology and equipment, and a naming gift to SCAD’s jewelry building.

Strengthening commercially ready graduates

The initiative is designed to strengthen the pipeline of commercially ready graduates and improve connections between students and retailers, manufacturers and designers.

SCAD’s jewelry design program, part of its School of Fashion, is described as the largest and most comprehensive of its kind in North America, blending traditional bench craftsmanship with digital design training.

University leaders said the partnership will support plans to expand enrollment and enhance industry collaboration over the next decade.

Jewelers Mutual said the investment aligns with its broader workforce development strategy through its Impact Fund, which supports education and innovation across the jewelry sector.

The Fashion Institute of Technology (FIT) is set to honor Richard Dickson, president and chief executive officer of Gap Inc., at its Annual Gala on April 14, 2026.

Taking place at the Cathedral of St. John the Divine in New York City, this year’s FIT Gala will celebrate Dickson’s career and his legacy of brand reinvigoration, from his time at Mattel as president and chief operating officer through to his role at Gap Inc, where he has been credited with “ushering in a new era of American style.”

Centering on the theme Threads of Impact, the annual gala affirms the shared vision of FIT and Gap Inc. while celebrating Dickson’s history of breathing new life into iconic brands. It reflects his career-long belief in creativity as a force that shapes culture and strengthens business performance.

“Gap Inc. is a house of iconic American brands guided by our purpose—to bridge gaps to create a better world. That includes bridging the opportunity gap. FIT embodies that same spirit, bringing education and industry together to unlock talent and expand what's possible. We're committed to opening doors, investing in emerging creatives, and building meaningful pathways into this industry for the next generation,” said Richard Dickson, president and CEO, Gap Inc., in a statement. “I'm truly honored by this recognition and proud to champion the students and future leaders who will shape what's next in design and fashion.”

Dickson follows in the footsteps of former FIT President Joyce F. Brown, who was honored at last year’s gala for her remarkable 27-year legacy and achievements within the fashion industry. “We are thrilled to celebrate Richard Dickson at FIT's Annual Gala, in recognition of his remarkable achievements and leadership," said current FIT President Jason S. Schupbach, in a statement. 

“Richard's commitment to empowering the next generation reflects the heart of our mission—and inspires the entire FIT community. We are grateful for his generous support, as his work affirms what FIT has always shown: that when industry and education work as one, they are the catalyst for real-world change that shifts our culture.”

Appointed President and CEO of Gap Inc. in July 2023, Dickson manages the company’s portfolio of leading American brands, including Old Navy, Gap, Banana Republic, and Athleta. Previously serving as President and COO of Mattel, he played a central role in the company’s global turnaround, revitalizing brands such as Barbie, Hot Wheels, and Fisher-Price, and served as executive producer of the Barbie film. He joined the Gap Inc. Board of Directors in 2022.

Under his leadership, Gap Inc. is advancing a vision of fashion that balances commercial success with meaningful social and environmental impact. Throughout his career, Dickson has consistently championed purpose-driven leadership, earning recognition for his commitment to corporate responsibility, including The Elizabeth Taylor Commitment to End AIDS Award and the Chief Executives for Corporate Purpose Force for Good Award.

The FIT Annual Gala brings together leaders and alumni from the fashion and creative sectors to support the FIT Foundation, which invests in the success of future FIT students. In 2025, the Foundation awarded more than 3 million dollars in scholarships while also funding key programs and new initiatives.

The Confederación Moda España is sponsoring the Fashion Technology category at SpainSkills 2026, reinforcing vocational training as a strategic pillar for Spain’s fashion industry. The national competition, funded by the Ministry of Education, Vocational Training and Sports and co-financed by the European Social Fund, is taking place from February 24 to 28 at IFEMA Madrid.

SpainSkills, a biennial vocational skills championship with roots dating back to 1946, brings together top vocational education students from across Spain. This year’s edition features 31 official categories and three demonstration skills, including Fashion Technology.

In the Fashion Technology competition, participants must complete an individual end-to-end project, from collection development and pattern making to garment cutting, construction and finishing. For 2026, students are working from a model provided by Spanish brand THE 2ND SKIN, developing a garment, modelling on a mannequin and producing a finished prototype. Judges will assess technical precision, pattern transformation, draping, industrialisation, finishing quality and workplace safety.

Organisers say the competition highlights the technical craftsmanship and creative skills increasingly demanded by fashion companies, while strengthening links between vocational education and industry.

SpainSkills 2026 will also serve as a selection platform for Spain’s representatives at WorldSkills 2026 in Shanghai and EuroSkills 2027 in Düsseldorf.

Madrid will host the third edition of the Tech&Crafts International Conference from March 18 to 20, presented in 2026 under the title Fashion Engineering. The event will present fashion as a technical, productive and cultural system, focusing on the role of engineering applied to design and industrial management.

The 2026 edition proposes engineering as an operational framework to address the sector's main challenges, such as process planning; material innovation; production optimisation; and distribution organisation. This approach is aimed at connecting academic knowledge with industry, offering an applied and cross-disciplinary perspective on the future of fashion.

Over three days, the conference will bring together researchers, professionals and institutions from 14 countries in various academic and cultural venues in the capital. These include the Museo del Traje-CIPE, the Higher Technical School of Architecture of Madrid (ETSAM-UPM) and the Higher Centre for Fashion Design of Madrid (CSDMM) of the Polytechnic University of Madrid.

The mornings of March 18 and 19 will be dedicated to keynotes by guest experts at the Museo del Traje. The afternoons will host presentations at ETSAM-UPM, selected through an international call for papers. Guest speakers include Holly McQuillan (TU Delft), Rickard Lindqvist (University of Borås), Cécile Feilchenfeldt (KNITWEARSTUDIO, Paris), Hakan Karaosman (Politecnico di Milano), Mouhannad Al-Sayegh (London College of Fashion) and Analía Segal (Pratt Institute). These profiles are linked to academic research, sustainability and textile experimentation.

Additionally, a call for papers invites researchers and professionals to submit proposals of up to 400 words, in either Spanish or English, including a title, authorship, institutional affiliation and an abstract. Proposals will be evaluated by a scientific committee and may be selected for a 15-minute oral presentation and, where applicable, for publication subject to peer review.

Thematic areas cover engineering processes and systems applied to fashion; the organisation and management of production and distribution; materials and technologies; sustainability and circularity; the history of technology and design culture; and knowledge transfer models.

This new edition of Tech&Crafts coincides with the 40th anniversary of the CSDMM within the UPM. With it, the institution reinforces its position as a space for dialogue between academia and industry. The fashion sector represents nearly 3 percent of Spain's GDP and around 2 percent of global GDP, with more than 300 million jobs linked to its value chain.

Founded in 1986, the centre integrated fashion design training into a technical university, consolidating a model that combines design culture with an academic engineering infrastructure.

London College of Fashion (LCF), part of University of the Arts London (UAL), returned to the official London Fashion Week schedule with a catwalk and showroom presentation spotlighting its MA Class of 2026.

The showcase featured collections from students in the MA Fashion Design Technology (Menswear) and MA Fashion Design Technology (Womenswear) programmes. The presentation took place at The Chancery Rosewood, where The Grand Ballroom was transformed into a runway and exhibition space for postgraduate work.

Andrew Teverson, Provost of LCF, described the presentation as a reflection of the School of Design and Technology’s emphasis on innovation, critical thinking and technical skill development. He noted that the showcase highlights how postgraduate students are engaging with the evolving demands of the global fashion industry.

In addition to the London Fashion Week event, the LCF MA26 School of Design and Technology exhibition is open to the public through February 24 at the college’s East Bank campus in Queen Elizabeth Olympic Park. The exhibition is free to attend.

Creative direction extended beyond garments, with hair led by John Vial and the Beautick team, make-up by Charli Avery and team, and original catwalk music composed by Toby Boston.

The annual postgraduate showcase continues to serve as a platform for emerging designers to present industry-facing collections while reinforcing LCF’s role in connecting fashion education with the professional sector.

A new Fashion Education Pact aimed at strengthening the connection between schools and the fashion industry was signed during the inauguration of MICAM and MIPEL at Fiera Milano.

The memorandum of understanding was formalized between Italy’s Ministry of Education and Merit (MIM) and two Confindustria federations: Confindustria Moda, representing the textile and apparel sectors, and Confindustria Accessori Moda, representing the leather supply chain. The agreement seeks to align educational pathways more closely with workforce needs across Italy’s fashion and manufacturing sectors.

According to Education Minister Giuseppe Valditara, the pact is designed to integrate entrepreneurial expertise with formal education, strengthening collaboration between schools, higher technical institutes (ITS), and companies. The initiative includes enhanced teacher training supported by industry partners and mechanisms to monitor educational outcomes.

The agreement builds on a 2021 protocol that focused primarily on reinforcing ties between technical and vocational schools and fashion companies. While the earlier pact emphasized collaboration and pilot projects, the 2026 version adopts a broader, more structural approach. It aims to consolidate the technical-professional education pipeline through stronger coordination between educational institutions, businesses and regional networks.

Modernizing Italian manufacturing

Industry representatives described the pact as a strategic step toward safeguarding and modernizing Italy’s manufacturing heritage. Luca Sburlati, president of Confindustria Moda, characterized the agreement as a commitment to creating employment opportunities while supporting innovation within the “Made in Italy” system.

The updated pact also incorporates emerging industry priorities, including artificial intelligence, digital technologies, cybersecurity, data protection and sustainability aligned with the UN 2030 Agenda. In addition, it introduces an international dimension, with initiatives intended to provide training opportunities abroad and facilitate pathways into the Italian labor market.

Supporters say the agreement reflects a growing recognition of fashion as a strategic educational and economic sector. While its long-term impact remains to be seen, the pact represents a coordinated effort to prepare students with integrated technical, digital and artisanal skills suited to an evolving global industry.

Students of Central Saint Martins (CSM) offered up reimagined takes on Topshop’s iconic denim styles during a London Fashion Week runway event this season. Participants of the university’s MA Fashion were tasked with reviving the Jamie and Jonie jeans as part of a competitive project, with ten concepts ultimately chosen for display.

The finalists were narrowed down from around 50 design proposals that were initially submitted to a panel including Topshop’s leadership team and CSM lecturers. The jury then selected the winning designs, each of which were developed and subsequently opened CSM’s MA Fashion runway last week. The chosen students each received 1,000 pounds as a reward.

Among the looks presented were nightlife-inspired halter neck dresses, a reimagination of classic workwear, and flared jeans that drew on Nigerian heritage. The designers were Byungyoon Lee; Dede Arisekola; George Zverko; Macy Grimshaw; Maxina Brewer; Mie Mie Yin; Miki Matsuda; Serena Mangiatordi; Thomas Uhlarik; and Valeriia Krasheninnikova.

Topshop, which is currently undergoing a relaunch, said the decision to host the competition tied in with its “commitment to championing emerging talent”. The brand’s global marketing director, Moses Rashid, said the Jamie and Joni jeans played a huge role in the fashion industry, and this initiative “was about reinventing the story for the next generation”.

A similar sentiment was shared by CSM MA Fashion course leader, Fabio Piras, who said: “Working with garments as culturally embedded as Topshop’s Jamie and Joni are within British fashion heritage challenged the designers to respond with both sensitivity and boldness. What emerged was a set of proposals that honour the familiarity of these pieces while pushing them into new terrains. Navigating that tension has been a wonderful opportunity for our students to showcase their talent and the distinctiveness of the CSM MA Fashion approach.”

Africa Fashion Up, a Paris-based platform dedicated to promoting contemporary African fashion, has opened applications for its sixth edition. Organised by the Share Africa Association in collaboration with the Musée du Quai Branly – Jacques Chirac, the 2026 programme will accept submissions from February 17 to April 17.

Founded in 2020 by French-Ivorian model Valérie KA, the initiative supports emerging African designers through mentorship, professional training and international exposure. Five selected talents will take part in an immersive week in Paris, including masterclasses and meetings with major industry players such as Balenciaga, HEC Paris, Galeries Lafayette and Istituto Marangoni.

Finale in Paris

The programme will culminate in a Paris fashion show where winners present their collections to international buyers, media and fashion professionals. Two application categories are available: Fashion Young Leader for emerging designers and Best African Designer for more established brands with registered businesses and retail presence.

Since its launch, Africa Fashion Up has supported 40 designers from more than 24 countries, reflecting the continued growth of Africa’s fashion market and its increasing global visibility.

Applications can be submitted via the official Africa Fashion Up website.

Plus-Size Patternmaking for Womenswear, co-authored by Leila Kelleher, a fashion scholar at Toronto Metropolitan University (TMU), and technical designer Gabby Brown, has been published, marking what is described as the first textbook dedicated exclusively to plus-size patternmaking.

The book addresses a longstanding gap in fashion education and the apparel industry, where traditional curricula have largely focused on standard sizing, often leaving students underprepared to design for plus-size consumers. Despite growing demand for size-inclusive training, formal instruction in plus-size patternmaking has remained limited in many fashion programs.

Designed for fashion faculty and industry professionals, the textbook provides drafting instructions specifically developed for plus-size bodies and covers the full pattern-drafting process, including size chart development, mobility and wearing ease considerations, and adapting dress forms for extended sizing. The authors say the aim is to make it easier for institutions to integrate plus-size patternmaking into existing curricula.

Kelleher, whose research focuses on size-inclusive design, sustainable fashion and biomechanics in apparel development, said the book seeks to improve garment fit and expand access to specialised technical knowledge. Brown, a technical designer and consultant in the U.S. fashion industry, noted that the project emerged from discussions about the lack of accessible plus-size expertise in formal education.

A book launch and discussion with the authors will take place February 27 at TMU’s Rogers Communication Centre.

TMU, established in 1948, offers more than 60 undergraduate and 65 graduate programs and enrolls nearly 48,000 students.

A student-organised fashion show at the University of Calgary has brought attention to eating disorder awareness and the importance of creating visible, supportive spaces on campus. The event, which took place in early February, featured student models and designers showcasing looks that symbolised personal journeys and community solidarity.

The initiative was led by the Eating Disorder Awareness UCalgary club, with further support from campus partners, according to an article on the University's website. Organisers said the show aimed to challenge conventional beauty norms, promote body positivity, and encourage dialogue about mental health and eating disorders among the university community.

Participants incorporated symbolic elements into their designs and runway presentation to reflect themes of resilience, self-acceptance and understanding. Organisers also shared resource information and invited audience members to engage in conversations about support services available on campus.

The event forms part of the University of Calgary’s broader commitment to student wellness, inclusivity and mental health awareness, with organisers noting the role of creative expression in fostering connection and opening conversations about sensitive topics.

Digital learning is reshaping fashion education, offering new tools and opportunities for students and educators, according to Sudhakar Rao, Director of JD Institute of Fashion Technology, School of Fashion Design. In a recent interview, Rao highlighted how online platforms, virtual tools and blended teaching methods are expanding access to coursework, creative collaboration and industry exposure.

Rao noted that virtual design software, digital portfolios and remote mentorship enable students to develop technical skills and market relevance alongside traditional studio practice. He described digital learning as complementary rather than substitutive, helping bridge geographic barriers and connect learners with global fashion communities.

The director also pointed to the potential of digital tools in supporting interdisciplinary approaches, sustainability education and real-world project work, as fashion programmes incorporate e-learning into long-term curriculum planning. According to Rao, the future of fashion education will balance virtual innovation with hands-on experience to prepare students for a rapidly evolving industry landscape.

Fashion designer Curtis Matysek, a graduate of Toronto Metropolitan University (TMU), has been named a finalist on the upcoming season of Project Runway Canada, the university reported. Matysek, who completed TMU’s Fashion Design program in 2019, will compete on the national reality competition that showcases emerging Canadian design talent, according to Toronto Metropolitan University's website.

During his time at TMU, Matysek earned industry recognition for his innovative approach to sustainable fashion and technical design. The school said his Project Runway Canada appearance highlights the quality of TMU’s fashion education and its emphasis on creativity, craft and practical skills preparation.

Matysek said the opportunity offers a platform to elevate his design voice and engage a wider audience as he navigates the early stages of his professional career. His work is expected to reflect personal influences, sustainability priorities and contemporary design perspectives.

Lucie and Luke Meier, the designer couple who studied at Polimoda in Florence and led Jil Sander from 2017 to 2025, have decided to return to the Florentine school. Twenty-five years after meeting in Florence, the two creative directors will mentor students of the undergraduate course in Fashion Design as they develop their graduate collections.

“Being back in Florence, at Polimoda, has a special meaning for us. Today's world is dynamic, complex and constantly changing; creativity is essential to help us all move forward. We hope to inspire and guide the creative talents with whom we will have the privilege of working,” commented Lucie and Luke Meier in a statement.

The Meiers' mentorship comes at a strategic time for Polimoda, which is celebrating its 40th anniversary and has appointed a new president, Niccolò Ricci, CEO of Stefano Ricci spa.

The Meiers will work alongside director Massimiliano Giornetti, An Vandevorst, advisor to the Design department, and the faculty. This team of fashion professionals will guide students in developing their final collections. The process will cover everything from concept ideation and material research to defining creative identity and technical execution. The journey will conclude in June, when a selection of the best collections will be presented at the Polimoda Graduate show 2026.

“This very week, the Meiers are meeting the 59 students from 30 different nationalities for the first time. This marks the beginning of a journey where they will guide the young emerging talents through the various stages of the creative process. It is a circle that closes and, at the same time, reopens, celebrating their professional journey alongside Polimoda's 40th anniversary,” explained Polimoda's management in the statement.

In 2001, Luke Meier, from Canada, and Lucie Meier, from Switzerland, met at Polimoda. He was attending the Menswear tailoring exchange programme with the Fashion Institute of Technology (FIT) of New York at the Florentine school; she was studying Fashion marketing at Polimoda.

After building notable individual careers, Luke in luxury menswear and streetwear, and Lucie in haute couture at Dior, Balenciaga and Louis Vuitton, the two reunited professionally as creative directors of Jil Sander, a role they held from 2017 to 2025. During those years, they redefined the brand's aesthetic through an approach based on design integrity and artisanal precision, rejecting the 'throwaway' model in favour of garments designed to last.

Under the collaboration, GEMS Education will work with LCF to develop expanded opportunities in fashion design, business and related creative disciplines. The agreement aims to provide broader access to industry-aligned curricula, mentoring, skills development and international education pathways for students aspiring to careers in the global fashion sector.

Representatives from both institutions said the partnership reflects shared goals of fostering creative talent and strengthening links between secondary, further and higher education. The initiative is expected to support student readiness for fashion careers and deepen exposure to international creative standards.

Financial details of the agreement, specific programme offerings and launch timelines were not disclosed in the announcement. Further information about the partnership and its educational initiatives is expected to be provided by GEMS Education and London College of Fashion in the coming months.

Fashion designer Sabato De Sarno has launched two new scholarships for students enrolled in the fashion design programme at the Istituto Europeo di Design (IED) Florence campus, organisers confirmed. The awards will cover 50 percent of tuition for up to three years for two recipients who maintain strong academic performance.

De Sarno, known for his work as a creative director and designer, said the initiative is intended to expand access to fashion education and support emerging talent. Prospective candidates must submit a project showcasing their creative process, from concept to final form, by March 20 to be considered.

Benedetta Lenzi, director of IED Florence, described the scholarships as a meaningful investment in the academic community and a “significant signal for the entire fashion system,” noting that education plays a key role in strengthening creative industries.

The move comes as part of wider collaborations between De Sarno and IED — including recent research and performance projects involving interdisciplinary student groups — and underscores ongoing engagement between fashion practitioners and fashion education in Italy.

Soho/Carnaby has partnered again with the London College of Fashion (LCF) to award two student designers with studio space in Soho’s creative district, organisers announced ahead of London Fashion Week. The initiative aims to support early-career talent by providing real-world workspace in one of the capital’s fashion and cultural hubs.

The studio award recognises outstanding student work and offers designers access to facilities and visibility amid Soho’s vibrant fashion ecosystem. Soho/Carnaby’s ongoing collaborations with educational institutions reflect broader efforts to connect academic fashion training with industry practice, offering emerging creatives opportunities to develop business and production skills outside the classroom.

The scheme has previously supported students from LCF, including winners who gained tailored workspaces at 26 Kingly Street through similar initiatives — part of Soho’s longstanding commitment to nurturing young designers and integrating them into London’s fashion landscape.

Finalists will showcase their work and share experiences with peers and industry figures during events connected to London Fashion Week, further bridging the gap between fashion education and professional engagement.

Paula Wallace, founder and president of the Savannah College of Art and Design (SCAD), has been awarded the title of Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture. The honor, one of France’s highest cultural distinctions, recognizes individuals who have made significant contributions to the arts and cultural exchange.

Wallace received the insignia during a ceremony held February 11 at Villa Albertine headquarters in New York City. The Order of Arts and Letters, established in 1957, acknowledges artistic influence and efforts that strengthen cultural dialogue in France and internationally.

The recognition highlights Wallace’s long-standing leadership in creative education and her role in expanding SCAD’s international presence, particularly through SCAD Lacoste in Provence, France. Since the site was donated to the university in 2002, SCAD has restored more than 50 historic buildings in the medieval village of Lacoste, transforming them into academic facilities, galleries and student residences.

Founded by Wallace in 1978, SCAD now enrolls more than 18,500 students from over 100 countries and offers 100 degree programs across locations in Savannah and Atlanta, Georgia; Lacoste, France; and online. The university maintains partnerships across fashion, design, film, architecture and related creative industries.

Wallace has previously received French honors including the Chevalier dans l’Ordre des Palmes Académiques and the Medal of the State of Vaucluse. In 2025, she was also awarded the Presidential Citizens Medal in the United States.

The Chevalier distinction underscores ongoing cultural ties between SCAD and France, particularly in the areas of art, design and higher education.

The London Fashion Awards has unveiled its nominees ahead of its inaugural ceremony, set for 21 February 2026 at the De Vere Grand Connaught Rooms. Launched by Creativeth in collaboration with the newly established London Fashion Council, the annual programme aims to spotlight excellence, creativity and innovation across the UK fashion sector, a press release revealed.

The 2026 shortlist intends to reflect a broad cross-section of the industry, spanning heritage tailoring, progressive womenswear, accessories, knitwear and outerwear, alongside emerging design talent. Categories include Menswear and Womenswear Designer of the Year, as well as dedicated awards for Accessory, Knitwear and Outerwear brands.

Rising Talent awards in both Fashion Design and Accessory Design further underline the platform’s focus on nurturing the next generation, while The Sustainability Award and Fashion Innovation Award highlight the growing commercial importance of responsible production and technology-led solutions. A new Fashion Impact Award further recognises voices shaping industry dialogue and cultural influence.

Special Recognition will be presented to Victoria Jenkins of Unhidden, while Mary Martin of Mary Martin London receives the Cultural Impact Award. Adebayo Jones Luxury will be inducted into the Hall of Style for Couture Excellence.

Winners, selected by a jury of editors and industry executives, will be announced live during the ceremony, which will also feature select runway presentations. “We are proud to recognise a group of nominees whose work continues to push fashion forward creatively and culturally,” said Joy Johnson, marketing executive at Creativeth, said in a statement.

The nominees are as follows;

Menswear of the Year

• Daniel W. Fletcher
• Denzilpatrick
• Joshua Kane
• Kiko Kostadinov
• Nicholas Daley
• Oliver Spencer
• Sagaboi

Womenswear Designer of the Year

• Ashish
• Di Petsa
• Edeline Lee
• Mowalola
• Nensi Dojaka
• Tove

Accessory Designer of the Year

• Completeworks
• Kat Maconie
• Katherine Elizabeth Millinery
• Solange
• Sophia Webster
• Sahar Millinery

Knitwear Brand of the Year

• AGR Knit
• Chinti & Parker
• Lam Clothing
• Oscar Ouyang
• Ossian Knitwear
• Pauline Dujancourt

Outerwear Brand of the Year

• Cotes of London
• Damson Madder
• De Savary London
• Hardware LDN
• Meriwether
• Shrimps

Rising Talent Award, Fashion Design

• AV Vattev
• Dreaming Eli
• Hector Maclean
• Johanna Parv
• Karoline Vitto
• Kaushik Velendra
• Sinead Gorey
• Saul Nash

Rising Talent Award, Accessory Design

• Barnaby Horn
• Clara Chu
• Georgia Kemball
• Jean-Luc A. Lavelle
• String Ting
• The Ouze

The Sustainability Award

• AKYN
• Baukjen
• Been London
• E.L.V. Denim
• Fanfare Label
• Lam Clothing
• Tammam
• Phoebe English

Fashion Impact Award

• Aja Barber
• Bay Garnett
• Carry Somers
• Doina Ciobanu
• Trino Verkade
• Venetia La Manna

Fashion Innovation Award

• Colèchi
• Cute Circuit
• Fashion Innovation Agency
• Fibe
• Sequinova
• Sojo
• Stylegaze AI

Creative Agency of the Year

• Black PR
• Crescent Fashion
• Fabric PR
• Purple PR
• Show Media
• Task PR
• TwentyTwentyComms

Anglia Ruskin University (ARU) has announced a new collaboration with fashion technology platform Mercury Dasha to examine the role of artificial intelligence in fashion design and business education.

The academic–industry partnership brings together students from ARU’s BA (Hons) Fashion Design and BA (Hons) Fashion Communication and Branding programmes, alongside undergraduates and MBA students from the Faculty of Business and Law. The initiative is designed to explore how AI tools can support creative workflows in fashion and how emerging business leaders may integrate and commercialise AI-driven technologies.

As part of the collaboration, Mercury Dasha is delivering two pilot projects. The first is a rapid prototyping workshop in which undergraduate fashion students work in interdisciplinary teams to develop and present a three-piece mini collection using digital and AI tools within a condensed timeframe. The second involves MBA students undertaking a mock consultancy exercise focused on evaluating the introduction of an AI-based fashion technology platform into real-world business environments, including potential challenges related to adoption and implementation.

University representatives said the projects aim to provide students with practical, industry-relevant experience while encouraging cross-disciplinary learning. Mercury Dasha noted that the collaboration also offers insight into how future designers and business leaders may engage with AI technologies.

The initiative reflects broader efforts within higher education to integrate emerging technologies into creative and commercial curricula, preparing students for evolving roles across the fashion and business sectors.

After six and a half years in vocational education, Ellen Haeser is returning to the stage. During Masterly Milano 2026, the speaker and cultural strategist will present From Cradle to Grave – an ode to lifelong, inexhaustible sources of inspiration. This is an audiovisual work focusing on fashion and interiors.

With over 45 years of experience in the fashion industry, Haeser reflects on the zeitgeist. She advocates for a shift from a trend-driven mindset to a value-driven one. FashionUnited speaks with her about education, retail and the future of fashion.

Where does your renewed urge to interpret the zeitgeist come from?

In education, I discovered the value of acting as a link between curricula and the reality of the industry and society. Connecting, translating and providing direction are my strengths.

Why now? The urgency has increased. The current zeitgeist puts pressure on young people, making them insecure. This is precisely why I want to be visible again. I aim to bring meaning, beauty and future prospects back to the profession, and to translate complexity into choices that professionals can make today.

What characterises the current zeitgeist, in your opinion?

We are ready for a shift from a trend-driven mindset to a value-driven one. Currently, there are many stimuli, but there is little room for depth because attention is constantly shifting to the next trend. Consequently, many consumers lack an understanding of what products are, how they are made and why it matters.

The zeitgeist calls for 'positive frugality': looking more consciously, choosing more consciously and sometimes consciously not buying. This is only possible if knowledge and context are made appealing, from materials and origin to maintenance and lifespan.

I see this translation in what I call 'manuals': practical value guides for products. When children learn to feel, make and understand what textiles are, a greater sense of value naturally develops. Just as culinary culture grew through knowledge and examples, fashion and interiors can shift towards quality and craftsmanship in the same way.

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What is your presentation at Masterly Milano 2026 in April about?

I am presenting From Cradle to Grave – an ode to lifelong, inexhaustible sources of inspiration. It is a continuous audiovisual cycle, fuelled by conversations with approximately 25 women from different generations and disciplines.

I want to literally give a voice to fashion and interiors as carriers of identity, zeitgeist and value. The project deliberately focuses not on new trend stimuli, but on meaning, context and imagination.

This urgency is not unique to fashion. In the design field, there is a growing awareness that acceleration and erosion pose risks. The appointment of Harry Nuriev as Designer of the Year 2026 at Maison&Objet is a clear sign of this. His 'Transformism' manifesto reinterprets existing objects and interiors, giving them new cultural meaning.

How do you see spring/summer 2027 and autumn/winter 2027? Where are we heading? What is changing?

For SS27 and FW27, I see a clear movement towards history, craftsmanship and quality. This is not nostalgia, but is visible in the choice of materials; construction methods; finishing and lifespan. Knowledge about what something is and how it is made will once again be decisive for consumers' value assessment, in both fashion and interiors.

With this, the desire for do-it-yourself grows: making, altering, repairing and personalising. I expect a revaluation of making one's own clothes, similar to what we have seen in interiors for some time. Retail can respond to this with a hybrid offering of product and service: semi-finished goods, customisation, repair and maintenance.

After a strong focus on vintage, pre-loved and upcycling, a new phase is emerging: redesign that is also aesthetically and qualitatively convincing. The Dutch brand Peterson Stoop, founded by two young women, demonstrates this possibility by transforming used trainers with their own technique. To ensure consumers keep their items for ten years, they must above all be desirable.

Where do you think the fashion sector stands on sustainability, and what have you observed in the industry and in education?

In the industry, I have seen a dual picture over the past ten years. Clear progress has been made, from alternative raw materials to improved processes, among both large and small players. At the same time, many initiatives fail due to a lack of scale, funding or supply chain collaboration.

Work is still too often done in silos, with insufficient consolidation and connection to retail and consumer behaviour. This is where it ultimately needs to 'land'.

My years in vocational education revealed how slow and system-driven change can be. There is a lot of motivation, but the connection with the industry remains fragile. Lecturers are mainly focused on keeping the education system running, which puts structural collaboration with the professional field under pressure. However, it is precisely through real-life assignments and joint projects that the necessary professional vision is developed.

How do you view innovation and sustainability in the fashion industry, and where do you think the key to scaling up and achieving real change lies?

There is a lot of intention in the sector and much is happening, especially concerning raw materials, collection and supply chain collaboration. This is necessary and is partly supported by European and regional programmes.

Real acceleration, however, will only occur when the market also shifts. By this, I mean that sustainability cannot be solved solely on the production side. It requires consumers to look at clothing differently: what is value; what quality do you expect; and what are you willing to pay for it? We have seen in the food industry that such a shift is possible, although it takes time.

This is why I always return to education. Understanding what clothing is, from material and manufacturing process to origin and impact, changes consumer behaviour. Precisely because fashion touches on identity and well-being, there is an opportunity here to move from a disposable product to a meaningful covering. For brands and retailers, this means investing not only in more sustainable materials but also in service, guidance and product knowledge.

What does this mean for production and retail? How should fashion be produced and sold in the future?

Technology enables made-to-order, micro-production and even production in or near the store. Although this is still rare, it can transform retail from a transactional space into an experiential place. My advice is to make the product story visible and give retail an active role in alterations, repairs and service. This shifts value creation from simply selling to guiding and finishing.

Furthermore, I see that reshoring is growing, although it has hardly reached the average consumer yet. I therefore expect the rise of expertise-retail, both in brick and mortar stores and online, where knowledge is the differentiator and quality is not automatically expensive.

What is your vision on the growing importance of experience, convenience and meaning in retail?

Retail can become relevant again by being more than just a point-of-sale. Teams can organise knowledge, service and creativity, guiding consumers to choose better, wear longer and maintain well. This, of course, clashes with the traditional business model.

I also think the classic formula of a single target audience and a single direction is becoming exhausted. Agility and sensitivity to the zeitgeist will be decisive.

Demographics play a major role in this. In the Netherlands, people over 65 now outnumber those under 20. This active, affluent group is still underserved in retail. Retailers who can connect generations, such as grandparents and grandchildren, are automatically more future-proof.

Who will remain relevant leading up to 2030?

The players who will remain relevant in 2030 are those who exchange a trend-driven mindset for a value-driven one and implement it consistently. They will create places and concepts where consumers not only buy but also learn and do. This can be achieved through workshops, repairs/alterations and making-support.

In a world of abundance, the ability to select and interpret becomes more important than the ability to add. The role of the curator is therefore growing. Technology, particularly AI, can enhance this by taking over repetitive work and creating space for human craftsmanship, such as personal service.

Ultimately, the brands and retailers that remain relevant will be those who dare to shift their business model from volume to knowledge, service and meaning.

Are you actually positive about the future?

My glass is half full. This is not because the challenges are small, but because fashion and textiles still carry great cultural and social significance. This ranges from identity and history to emotion and self-image. That deeper layer has not disappeared, but it has been buried. The task is to make it visible again.

My optimism stems mainly from the interaction between generations. While older generations bring experience and an awareness of quality, younger generations ask sharp questions and navigate the technological world with ease. When these perspectives converge, there is room for acceleration, both in education and in practice.

At the same time, the range of products on offer remains a concern. In education, it is not about prescribing but about broadening horizons. It is about showing young people that alternatives exist and what quality truly means. As with food, the same applies here: only when you know what choices are available can you choose consciously.

Finally, what tip, lesson or food for thought would you like to share with our readers?

In closing, I invite readers to do one simple exercise: look at the item of clothing you have kept the longest. Why that particular piece? What does it say about who you are and what you want to pass on?

By asking such questions, the focus shifts from 'what is new?' to 'what endures?'. That is precisely where a value-driven mindset begins.

This interview was conducted in writing.

Other sources:
- AI tools were used as a writing aid.

The University of Michigan-Flint will host author Maxine Bédat on Feb. 25 as part of its Common Read program, featuring a reading and a student-led sustainable fashion show tied to her book Unraveled: The Life and Death of a Garment. The events will take place in the Harding Mott University Center KIVA, followed by a “Wear It Forward” fashion showcase in the UCEN’s Happenings Room.

Bédat’s Unraveled — the selected Common Read title — examines the environmental and social impacts of the fashion supply chain, tracing the lifecycle of a garment from production to disposal and addressing issues such as labor, sustainability and consumer behavior.

The sustainable fashion show will feature approximately 12 student designs created from materials sourced through UM-Flint’s Wolverine Essentials program, demonstrating campus engagement with sustainability and design practices.

Organisers say the author visit and fashion show complement the broader Common Read initiative, which brings the campus community together around shared reading and interdisciplinary discussion.

Ypsilanti, MI — February 11, 2026 — Eastern Michigan University fashion marketing and innovation student Lindsay Jenkins has been awarded a 10,000 dollar scholarship from the Virgil Abloh “Post-Modern” Scholarship Fund, the university confirmed. Jenkins was one of 60 recipients nationwide selected for the award this year.

The scholarship, established by the late designer Virgil Abloh to support Black and African-American students in fashion and related fields, accompanies professional development and mentorship opportunities alongside financial support. Abloh, founder of the Off-White label and former artistic director of Louis Vuitton menswear, created the fund to enhance access to education and careers in fashion.

A Detroit native and entrepreneur, Jenkins previously ran her own brand, LYNZI, and has showcased her collections at fashion weeks in New York and Los Angeles. At EMU, she is preparing for the annual portfolio show where she will present her work to industry professionals while pursuing career pathways that include fashion buying and brand strategy.

World Fashion University (WFU) has formally announced its establishment as a new academic institution aimed at advancing education in fashion, beauty and the creative industries on a global scale. The university was incorporated under Uganda’s Companies Act and is structured to operate within the regulatory framework overseen by the country’s National Council for Higher Education and Ministry of Education & Sports.

World Fashion University was developed through collaboration among educators, industry leaders and professional organisations in fashion, beauty and craft, with the intention of connecting structured academic learning to real-world industry practice. The institution plans to offer a range of programmes—from certificate and diploma training to advanced professional and higher academic tracks—focusing on design, textiles, beauty sciences, craft traditions and creative entrepreneurship.

Early external recognition includes top placement in the IFA Africa Rankings 2026, where the university was ranked #1 among Uganda’s private fashion universities and #19 regionally. It has also been named Best Fashion University – 2026 by the International Award Forum and received quality and governance rankings reflecting ISO-aligned institutional frameworks.

WFU emphasises interdisciplinary learning, practical skill development and industry integration, aiming to prepare students for employment and leadership roles across fashion, creative enterprise and cultural sectors. The university says it intends to expand international collaborations and specialised research initiatives as it grows.

The Council of Fashion Designers of America (CFDA) has teamed up with OpenAI on a two-year initiative that looks to bring AI tool builders together with CFDA members, with the goal of driving creativity and growth across the industry.

As part of the partnership, the duo have launched the Innovation Hub, described as a “designer-centric approach to AI integration” that aims to establish cooperation on the creation of AI solutions to meet industry needs.

For the first year, six fashion brands will be partnered with six AI tool builders for a year-long collaboration during which they will develop pilot projects designed to illustrate how AI tools could advance the fashion industry. OpenAI will offer over 300,000 dollars in grants, as well as unlimited access to its tools

To kick the programme off, a full-day event, the Innovation Sprint, will be hosted allowing AI developers to showcase their prototypes addressing fashion challenges. Following a selection and pairing process, matched cohorts will then take part in workshops, mentorship and pilot development ahead of a Demo Day in New York.

In a statement, CFDA, CEO and president Steven Kolb, said: “The Innovation Hub speaks to CFDA’s mission to amplify creative excellence, promote business longevity, and foster positive industry change. When approached responsibly, AI bridges the gap between fashion and emerging technology. It can be a powerful creative and business tool for American fashion in areas such as design, customer experience, manufacturing, sustainability, accessibility, inclusivity, and marketing.”

The third winner of the CFDA Genesis House AAPI Design and Innovation Grant has been revealed. This year, Terrence Zhou the designer behind Bad Binch TongTong was named as the recipient of the programme, created to support emerging AAPI talent through financial support and mentoring.

Zhou presented his collection during a private event at Genesis House last week, alongside fellow finalists Allina Liu and Kim Shui. Each participant was given 40,000 dollars to develop their lines over a five-month duration, which also included a trip to South Korea and access to mentors.

For his own collection, Zhou presented three-pieces that explored “innovation as a state of incubation”, drawing inspiration from the Chinese creation myth of Pan Gu, reflective in protective shells which withheld each design. The line intends to mirror a progression from origin to transformation to forward motion, a press release explained, “proposing innovation as refinement rather than rupture”.

In a statement, Zhou said: "This programme affirms my belief that innovation is not about replacing heritage, but allowing it to evolve, holding tradition in a state of becoming while imagining new futures through design."

As the winner, Zhou received a further 60,000 dollars to develop his business. The finalists’ collections will all remain on display at Genesis House until February 22.

The European Union is providing financial support to the Amsterdam-based fashion-tech company The Fabricant for the development of an AI-driven initiative. In collaboration with the University of the Arts London (UAL), the Image to Pattern project focuses on automating the conversion of design sketches into production-ready patterns, according to a press release from The Fabricant.

The Image to Pattern project targets this part of the process as it has traditionally been manual and under-digitised, despite being a crucial link in the fashion supply chain. Part of the Dutch innovator's 'Intelligent Tools' series, Image to Pattern aims to shorten product development lead times from days to mere minutes. Automating the technical drawing of patterns through artificial intelligence can significantly reduce the need for physical samples. This contributes to greater efficiency for independent designers and global brands alike, while also lowering the ecological footprint by eliminating superfluous prototypes.

The Dutch company is collaborating closely on this project with academic partners and manufacturers, including Padma, United Textile Partners and the Becri Group. This broad coalition aims to establish a new fashion infrastructure where technology enhances human creativity. The solution is designed for seamless integration into existing digital workflows and is set to be widely available to the entire fashion ecosystem by the end of 2026.

According to The Fabricant's co-founder Adriana Pereira, participation in the EIT network accelerates the transition to a digitally empowered European fashion industry. “By joining the EIT Culture & Creativity ecosystem, we are fostering a more sustainable and economically prosperous sector,” said Pereira. The London College of Fashion (LCF), part of UAL, also views the collaboration as a unique opportunity to translate its 120 years of expertise in pattern and fit education into innovative, creative solutions for the future.

CampusFP Fashion Week will return on February 6, 2026, bringing together students from vocational training centres across the Community of Madrid to present physical and digital runway shows focused on fashion, technology and future-ready skills.

Now in its ninth edition, the event positions vocational education as a practical laboratory for emerging talent, offering students hands-on experience across design, pattern making, styling, audiovisual production, lighting, sound, communication and event management. More than 100 students will take part in the professional-format showcases.

The programme features a series of student-led runway shows, including collections from IES Barrio de Bilbao, Artediez, and independent designers, alongside a digital runway show that explores the future of professional uniforms. Using artificial intelligence, students have imagined futuristic workwear for essential professions such as civil defence, emergency medical services and laboratory technicians, combining design with functionality, technology and visual storytelling.

CampusFP Fashion Week continues to strengthen the link between vocational training and employability, providing students with real-world industry experience, portfolio development opportunities and direct exposure to professionals, institutions and media.

Fashion Trust US has revealed its finalists for the fourth annual Fashion Trust US(FTUS) Awards.

Taking place in Los Angeles on April 7, 2026, the finalists were chosen by the FTUS Board and advisory board members. All 16 finalist nominees are divided across the four categories, namely Ready-to-Wear, Jewelry, Accessories, and Graduate, in addition to the Sustainability Award.

The finalists in the Ready-to-Wear category include: Ashlynn Park from Ashlyn, Keith Herron from Advisry, Maxwell Osborne and Kristy Chen from anOnlyChild, and Zane Li from LII. The award finalists from the Jewelry category are: Ivi Kyratzi from IVI Los Angeles, Jen Insardi from JV Insardi, Jing Feng from Harlot Hands, and Josefina Baillères.

The finalists in the Accessories category are: Andrea Marron, Camilla Gabrieli, Chris Echevarria from Blackstock & Weber, and Karla Maria Dipuglia Perez from Ká Dipuglia. And lastly, the finalists from the Graduate category are: Deborah Won from Fashion Institute of Technology, Kelechukwu Mpamaugo from Central Saint Martins, Lorena Pipenco from Parsons School of Design, and Marcelle Barbosa from The New School, Parsons. 

The 16 FTUS 2026 finalists will present their work to the Fashion Trust US panel on April 7, and the five chosen winners will be announced at the awards ceremony that evening. The winner of each category will receive financial aid, mentorship from industry experts, and more. 

The Fashion Trust US was founded by Tania Fares in 2022, who launched the British Fashion Council’s Fashion (BFC) Trust in the UK in 2011. The FTUS is a non-profit organization that recognizes and supports US-based emerging fashion designers. Each year, the winners of each distinctive category are given grant funding, along with a one-year mentorship to help with business aspects like budgeting, brand strategy, marketing, and more.

As part of the program, each winner is also flown to London, where they take part in the BFC Fashion Trust initiative and connect with the industry network there.

Fondazione Gianni Bonadonna has announced the recipients of the 2026 Gianni Bonadonna Fellowship, an annual initiative supporting early-career medical researchers in oncology. The announcement coincides with World Cancer Day and is made with the support of the Prada Group and in collaboration with the European School of Oncology (ESO).

The three fellowship recipients — Leonardo Brunetti, Matteo Maria Naldini and Francesco Romano — will each undertake a year-long research placement at leading international oncology institutions. Their projects focus on areas including lung cancer immunotherapy, triple-negative breast cancer, and advanced CAR-T cell therapies for acute myeloid leukemia.

Brunetti will conduct research at the Dana-Farber Cancer Institute in Boston, examining mechanisms of resistance in non–small cell lung cancer. Naldini’s project, based at the Cancer Research UK Cambridge Institute, will investigate immune interactions within breast cancer tumors using advanced spatial proteomics. Romano will continue research at Dana-Farber and Harvard Medical School, focusing on gene-editing strategies to improve the safety and effectiveness of CAR-T therapies.

According to Fondazione Gianni Bonadonna President Luca Gianni, the fellowship reflects continued confidence in young physician-scientists and the role of research in advancing patient care. The foundation also confirmed plans to launch the sixth edition of the fellowship later in 2026.

Established to honor the legacy of oncologist Gianni Bonadonna, the fellowship supports international research training and contributes to the development of new therapeutic approaches in cancer treatment.

Toronto Metropolitan University (TMU) has opened The Flax Project, a collaborative exhibition developed by its Urban Farm and School of Fashion, showcasing the historical and contemporary process of producing linen from flax plants. The exhibition launched on Jan. 21 and highlights connections between sustainable fashion practices, traditional textile production and hands-on learning.

The project originated from a natural dye workshop linked to the Urban Farm’s Natural Dye Garden living lab, where fashion students participated in growing, harvesting and processing flax and natural dyes as part of coursework on sustainable fashion systems. Fifth-year fashion student Mika Soetaert, whose family background includes linen production in Belgium, described the experience as both educational and personally meaningful.

Tools used in the exhibition—including a flax brake and hackles—reflect traditional techniques that have been employed for centuries, giving students insight into the labour-intensive craft behind textile creation. TMU Urban Farm coordinator Jess Russell said the exhibition demonstrates how campus farms can extend learning beyond food production to include plant-based materials relevant to sustainable design and local textile possibilities.

Organisers hope The Flax Project will inspire greater appreciation of fibre cultivation and circular fashion practices, and illustrate how academic collaborations can bridge agriculture and fashion education at TMU.

A group of students in the Surrey Schools’ Wraparound (WRAP) program has embraced fashion as a tool for creativity and self-expression through a new partnership with Solid State Community Industries, a local network supporting BIPOC youth.

The initiative, part of the Reverie cohort, invited five current and former WRAP students to engage in an experiential fashion co-operative focused on sustainable, locally produced limited-edition apparel. Over six months, participants met twice weekly to learn design principles, explore textures, colours and materials, and develop their own fashion brands and screen-printed graphics for T-shirts and hoodies.

Students created original logos and fashion lines centred on themes such as loyalty, authenticity, truth and positivity. Several participants said the creative process helped them build confidence, articulate personal experiences through design and share meaningful messages with others.

The programme culminated in a public reveal event in December, where family and community members celebrated the students’ designs. Participants described the experience as rewarding and empowering, with some planning to continue collaborating on fashion projects beyond the programme.

SLIM’s Fashion & Arts School, one of the Philippines’ longest-standing fashion institutions, has formed a formal partnership with De La Salle-College of Saint Benilde (Benilde) to preserve and expand fashion education in the country. The alliance was established through a memorandum of understanding signed in September 2025 and aims to integrate SLIM’s historic curriculum and archives with Benilde’s academic programmes.

Under the agreement, SLIM’s specialised courses in fashion design, patternmaking and technical craftsmanship will be offered within Benilde’s School of Environment and Design, allowing students to benefit from both legacy training and broader academic resources. The collaboration also safeguards SLIM’s extensive fashion archive — including garments, books, vintage materials and historical documents — which will be housed at the upcoming Benilde Fashion Museum.

Benilde’s established Bachelor of Arts in Fashion Design and Merchandising programme, first launched in 1996, will help deepen the partnership’s educational impact, providing expanded access to fashion training and industry-relevant learning opportunities.

Benilde officials described the alliance as a custodianship of Filipino fashion heritage and a way to broaden access to quality fashion education for future designers.

Actor Vaani Kapoor served as showstopper for a fashion showcase by veteran designer Neeta Lulla, presented in collaboration with VivZ Fashion School at The Westin Pune. The event highlighted Lulla’s design philosophy rooted in craftsmanship, structure and narrative-driven couture.

Drawing on more than four decades of experience in Indian couture and costume design, Lulla presented a collection defined by architectural silhouettes, hand-crafted detailing and restrained embellishment. Jewel tones, softened metallics and neutral shades underscored the emphasis on timeless design over seasonal trends.

The showcase also functioned as an educational collaboration, offering VivZ Fashion School students insight into professional couture practice and design discipline. VivZ representatives described the partnership as an opportunity to connect emerging talent with industry legacy through hands-on exposure and mentorship.

Jewellery for the presentation was curated by Sheetal Creations, complementing the collection’s understated aesthetic. The event reinforced Lulla’s continued focus on heritage-informed fashion designed for the contemporary Indian woman.

Institution, an Italian-founded brand, has won the 2026 Zalando Visionary Award. The brand was recognised “for its social and artistic approach, its commitment to the community and the preservation of declining artisanal skills in fashion,” explained Zalando management in a statement.

During Copenhagen Fashion Week in August, Institution will present its SS27 collection on the runway with support from Zalando. This support includes mentorship, casting and financial backing for the show's production.

Founded in Italy by Galib Gassanoff, the brand is firmly rooted in the designer's Azerbaijani cultural heritage. “The brand pushes the boundaries of fashion, using craftsmanship, natural materials and community engagement to strengthen its social impact while preserving declining artisanal skills,” the press release reads.

The three 2026 finalists, Institution, Kylo Ho and Milk of Lime, were selected by an international jury of industry experts.

“I am delighted to congratulate Institution on winning the Zalando Visionary Award. Galib's determination to enhance craftsmanship, combined with his ability to integrate diverse cultural experiences, was the decisive factor. On behalf of the Zalando team, we look forward to seeing how Institution will continue to contribute to a more inclusive and innovative industry,” emphasised Sara Spännar, jury member and vice president of brand and creative at Zalando.

“I believe in the value of sharing my brand with the world and I am deeply grateful every time this value is recognised. I want to thank everyone who has supported my vision since its inception and who has helped me achieve this result,” said Galib Gassanoff, founder of Institution.

The brand will also receive mentorship from Edward Buchanan, an expert jury member, creative director and cultural promoter. Additionally, it will be awarded a cash prize of 50,000 euros and a further 35,000 euros to support the production of the show.

Graduate Fashion Foundation, the charity behind the largest showcase of BA fashion talent in the world, has announced a strategic partnership with Tesco’s clothing brand F&F to mark the 35th anniversary of Graduate Fashion Week (GFW) in June.

In a statement, GFW, which takes place at the Truman Brewery from June 15 to 18, 2026, said the move would see F&F supporting the “next wave of fashion talent,” with a focus on bridging the gap between fashion education and employment through real-world briefs, innovation, and industry access.

As part of the partnership, F&F has introduced two student competitions in design and marketing for university students across Graduate Fashion Week members, and will be hosting a catwalk show at GFW, dedicated to final year collections, celebrating creativity, innovation, and emerging talent, as well as hosting the GFW26 live talk space, and offering direct student engagement with F&F’s design teams through its F&F Digital Innovation Lab.

Nicola Hitchens, who was named the Graduate Fashion Foundation’s first-ever managing director in September 2025, said: “We’re so pleased to welcome F&F to Graduate Fashion Week 2026 - from exciting student briefs and competitions to a curated catwalk show, this partnership represents the power of industry collaboration on young talent, elevating fresh voices and ideas into industry.

“Central to our strategy is to collaborate with industry to create opportunities, continue to decentralise regionally, and we will work closely with the F&F to deliver this mission. It’s encouraging to see fantastic entries to the GFW x F&F Design Brief and the GFW x F&F Marketing Brief already this year.”

For F&F Clothing, the move allows the brand to champion “creativity and innovation,” said the supermarket brand, and for its head of design, Ben Lee, the partnership is a “full-circle moment,” as he launched his own career through Graduate Fashion Week.

Lee added: “We’re incredibly excited to be collaborating with Graduate Fashion Week this year. GFW played a pivotal role in my own career, as it has for so many at F&F, so being able to support the next generation of designers feels like a true full-circle moment.

“Nurturing talent is at the heart of what we do at F&F, and this partnership is a natural fit. We’re proud to help emerging talent take their first steps into the industry, and this marks the start of an exciting, long-term partnership with GFW.”

GFW, which has been a launchpad for designers, such as Stella McCartney, Giles Deacon, and Christopher Bailey, will host more than 30 UK and international universities in June. Over the past 35 years, more than 100,000 newly graduated and undergraduate students have been supported and guided by the Graduate Fashion Foundation.

The Zalando VORN Design Academy has announced the winners of its emerging talent award for the fourth time. The ten finalists are currently exhibiting their creations at Berlin Fashion Week.

The Design Academy was developed in 2022 by Zalando's Social Impact Team in partnership with VORN – The Berlin Fashion Hub. It connects emerging designers and young brands with industry experts. “Our goal is to drive positive change in the fashion industry through education, collaboration and innovation. We provide the tools, knowledge and networks necessary to develop more sustainable and forward-thinking solutions,” the description states.

Material innovations in focus

Each year, the programme focuses on a specific field of innovation, as was the case with the fourth edition, NOVA. Material innovations were at the heart of the programme as a driver of transformation towards a sustainable fashion industry. “The designers are experimenting with forward-thinking textiles to develop their visionary designs, which respond to new technologies, ever-increasing sustainability standards and current industry regulations,” according to the background information.

The 100 participants completed an eight-week e-learning programme. The programme focused on sustainable design strategies, branding, business modelling and advanced 3D technologies.

A panel of experts then selected the ten best concepts. These were brought to life in a “Design Sprint” through mentoring and prototyping. The final designs are presented on an international stage as part of Berlin Fashion Week to connect the designers directly with industry leaders and a broad professional audience.

Below, we introduce the ten winners along with their creations and design approaches.

Daniela Milosheska

Daniela Milosheska is the founder of the made-to-order label Bastet Noir. She works with blended fabrics made from agricultural waste such as hemp. For her NOVA project, she chose AltMat's material, which also uses agricultural waste. No harmful chemicals were used, and the manufacturing process consumed a quarter of the water required for cotton. The trench coat, crop jacket and skirt were sewn with dissolvable Climatex thread.

Milosheska believes that clothing should be human-centred, as should craftsmanship.

Iris Dean Blackwood

Iris Dean Blackwood is a material-focused textile and fashion designer from Berlin. She believes that clothing should be “modular, interactive and personalised, as well as more emotionally sustainable”. She describes her work as being at the intersection of textile architecture, material research and circular design. “Clothing should evolve with us rather than eventually disintegrating.”

For the NOVA project, she worked with recycled poly-cotton yarn from Turns, which was sourced from old workwear. Her reversible utility jacket has detachable sleeves and a hood. This not only offers the wearer more versatility but also facilitates repairs and disassembly at the end of the garment's life.

Jennifer Haas

Jennifer Haas is a fashion and textile designer from Berlin and the founder of the label Pinkraininthebrain, which combines modern technologies with traditional craftsmanship. For the NOVA project, she worked with a laser cutter and the vegan, plastic-free material Mirum to develop a zero-waste garment.

Various individual pieces are slotted together. This allows the resulting garment to be adjusted to different sizes and modified as desired. Haas created a kimono, a dress and a handbag.

Jeakyong Sim

Jeakyong Sim is the founder and designer of the Berlin-based label Acceptance Letter. For the NOVA project, the designer opted for mono-materials from sources including Cloudwool, Circulose and Noosa to facilitate future recycling and regeneration. This resulted in a white jacket made from Cloudwool, a loose T-shirt from Circulose material and a Noosa wrap skirt.

“If it looks good and feels good, you will wear it, you will love it and you will keep it,” says the designer about long-lasting garments.

Lisa Vander Plaetse

Lisa Vander Plaetse works under the designer name Matuta and uses 3D design to create shoes and accessories. For the NOVA project, she chose a combination of 3D printing and knitting, as these techniques are suitable for local and on-demand production.

Biodegradable and recyclable materials are important to the Barcelona-based designer. She opted for a yarn from AltMat made from waste materials. The 3D-printed elements are made from recycled TPU from the shoe industry.

Naomi Nakajima

Naomi Nakajima is the founder of N-Naka Lab, based in New York and Berlin. The label focuses on experimenting with next-gen materials that surpass conventional ones in terms of comfort, quality and environmental impact. Her vision for the future of fashion is one that uses non-toxic, bio-based materials and is completely circular.

For the NOVA project, Nakajima chose Mirum. She used the 3D modelling software Clo to develop a pattern, which she then applied to the material using a laser. The material was also laser-cut to minimise waste. The pieces of the motorcycle jacket were sewn together with Stitchlock from Climatex.

Natalie Shirin Nazemi

Natalie Shirin Nazemi is a costume and textile designer from Hanover. She is the founder of the label Shirin’s Bliss. For her, it is important to build a relationship with what you wear.

For the NOVA project, she used Cloudwool, derived from wool waste, for a long coat. She felted its surface with raw wool from Pomerania. A sheep portrait dyed with avocado adorns the back.

Tobias Beigi

Tobias Beigi has been a designer at Hessnatur for six years, where he is responsible for the entire menswear line. He aims to make hidden waste streams visible, including those in cultivation, cutting and production.

The two garments created for the NOVA project – a denim jacket and denim trousers – are made from denim that incorporates pineapple leaves. All metal parts can be easily removed and recycled. The pattern on the jacket and trousers was created from fabric scraps generated during production.

Viktor Stojkoski

Viktor Stojkoski is a designer from Copenhagen. His design consists of several modules or parts that can be assembled in any way, as he wants to inspire wearers to create their own clothing.

Willem van Helvoirt

Willem van Helvoirt is the founder of the label Achilles and the Tortoise, which aims to make sustainability enjoyable. For his NOVA design, the Amsterdam-based designer tried to incorporate as many materials as possible to experiment with them. He used Cloudwool for a fitted jacket, Circ for a skirt and AltMat for a pair of trousers.

A special Indo-French edition of the R|Elan Circular Design Challenge (CDC) will be held in 2026 as part of the India–France Year of Innovation, organisers announced this week.

Led by the Embassy of France in India and the French Institute in India, in partnership with Reliance Industries Limited, the United Nations in India, and the Fédération de la Haute Couture et de la Mode (FHCM), the initiative aims to support emerging designers and entrepreneurs working in sustainable and circular fashion.

Originally launched in India in collaboration with the UN in India and Lakmē Fashion Week, the Circular Design Challenge has developed into an international platform for early-career designers exploring responsible innovation across the fashion and textile value chain. The 2026 edition places particular emphasis on education, cross-cultural exchange and capacity building between France and India.

As part of the programme, French designers focused on circular practices will be identified through a European jury session in Paris, organised in collaboration with FHCM. A dedicated Indo-French jury comprising fashion and industry professionals will select finalists, culminating in an international showcase during Lakmē Fashion Week x FDCI in Delhi in October 2026, with events hosted at the Embassy of France in India.

Organisers say the initiative reflects a shared commitment to preparing the next generation of designers to address sustainability challenges through education, innovation and international collaboration, while strengthening long-term ties between French and Indian fashion institutions.

Artemis Academie, the leading academy for creative concepting in Trend Forecasting, Styling & Design and Art Direction, is joining forces with the international education organization Group EDH. Groupe EDH is a higher- education network specialized in design, film and digital creation, and is known for its prestigious academies such as IFA Paris, GNOMON, École Bleue and MoPA.

In the Netherlands, Artemis offers an accredited full-time Bachelor of Arts, as well as a part-time evening program for professionals. Through this collaboration, Artemis aims to elevate creativity to an international level and to respond even more effectively to creative and technological developments.

Danielle Robben and Martijn Feringa, directors and owners of Artemis Academie:

“Today’s world calls for collaboration. Individually we are strong, but together we can respond faster and more effectively to developments that are accelerating at an ever-increasing pace. The strong growth our academy has experienced in recent years, with Trend Forecasting, Styling & Design and Art Direction as solid pillars, shows how great the demand for this knowledge is. From the very first moment, Groupe EDH felt like the right fit in terms of people and its complementary creative academies, and that matters enormously to us. By working together, we can further broaden our horizon and create new opportunities for our students and for the creative industry as a whole. In doing so, we strengthen our mission: enabling students to step into the world with a future.”

Stéphanie Ferran, CEO of Groupe EDH:

“The joining of Artemis Academie to Groupe EDH fits perfectly within our portfolio of schools and significantly strengthens our international development, one of the key pillars of our strategy. In this context, we continue to build a constellation of prestigious creative institutions in inspiring destinations worldwide.

Beyond student exchanges with our partner institutions abroad, we are developing, through our own schools, a truly distinctive, integrated, and opportunity-rich international mobility offering for our students: Cesine and Creanavarra in Spain, Miami Ad School in Miami and New York, Gnomon in Los Angeles, and now Artemis in Amsterdam.

With Artemis Academie becoming part of our network, we will continue to implement innovative, interdisciplinary, and international projects, placing an outstanding student experience at their core.”

Danielle Robben and Martijn Feringa will continue in their roles and remain actively involved as directors and co-owners of Artemis Academie.

Learn more about Artemis Academie: https://artemisacademie.nl/

Discover Groupe EDH : https://www.groupe-edh.com/en/

Central Saint Martins, part of University of the Arts London (UAL), has appointed Stella McCartney as the inaugural Industry Ambassador for its M School—a multidisciplinary school focusing on Fashion, Jewellery, Textiles & Materials.

In her new role, McCartney will work closely with students and faculty to support material innovation, sustainability and regenerative design as part of the school’s mission to connect creative education with industry leadership. Her involvement coincides with the launch of Pioneers Season, a programme of talks, events and discussions featuring leading thinkers and designers shaping more responsible futures in fashion and design.

The initiative reflects Central Saint Martins’ ongoing emphasis on embedding ethical practice and systems thinking into creative education, strengthening links between academia and industry as part of broader conversations on material culture and environmental responsibility.

A recent Fibre2Fashion article examines whether today’s fashion industry is supporting emerging designers as effectively as in the past, raising concerns about structural barriers that may be “leaving them behind.” The piece notes that historically, young designers helped drive innovation and cultural shifts in fashion, but now face increasing pressure to deliver fully commercial and globally relevant brands with limited financial backing and institutional support.

The report highlights several trends that have made it more difficult for new talent to grow sustainably. Consolidation under major luxury conglomerates has shifted priorities toward predictable profitability, while traditional retail spaces that once showcased new designers are shrinking. Although digital platforms offer increased visibility, algorithms prioritise content that performs well online, often at the expense of creative depth and craftsmanship.

The article also criticises the gap between sustainability rhetoric and meaningful support, arguing that many emerging designers who practise ethical and circular design struggle to secure the resources needed to scale responsibly. It calls for long-term mentorship, patient funding models and inclusive retail ecosystems to better sustain new voices.

Leicester Made & Regions 2026 is positioning fashion education and skills development at the centre of its expanded programme, offering new opportunities for educators, students and early-career professionals to engage with the future of British fashion and textile manufacturing.

Organised by Fashion-Enter Ltd, the two-day event will take place at De Montfort University and aims to strengthen links between fashion education, manufacturing and industry. Alongside showcasing UK-based production, the programme focuses on workforce development, ethical manufacturing and the practical skills needed to support on-shore production in a rapidly evolving fashion sector.

The Industry Day will bring together manufacturers, brands, educators, technologists and policymakers to address challenges in skills training, sustainability and supply-chain innovation. Organisers say the event provides a platform for fashion students and educators to better understand real-world manufacturing processes, employment pathways and the technical demands of modern apparel production.

A Consumer Day will further highlight British-made fashion while raising public awareness of the skills, craftsmanship and educational pathways behind locally produced garments. Sponsorship support from industry partners, including fashion technology company Alvanon, reflects growing interest in aligning education with data-driven design, fit standards and manufacturing innovation.

Leicester Made & Regions 2026 aims to reinforce the role of education in rebuilding and future-proofing the UK fashion industry, offering sponsors, institutions and students opportunities to collaborate around training, curriculum relevance and long-term sector resilience.

Fashion industry veteran and Montclair State University instructor Pamela Macklin recently shared reflections on her role directing fashion and style for a landmark Essence magazine cover shoot featured in the publication’s 55th anniversary issue.

Macklin, who previously served as Fashion Director at Essence in the early 2000s, described the recent assignment—reimagining the magazine’s fashion direction in honour of influential editor Susan L. Taylor—as a “once-in-a-lifetime opportunity.” Her comments highlight the intersection of creative leadership and cultural storytelling within fashion publishing.

The shoot brought together celebrated talent and designers, working with acclaimed multimedia artist Mickalene Thomas as photographer, and drew on Macklin’s longstanding industry experience. She emphasised the collaborative effort and the significance of representation behind the scenes.

The university noted that Macklin’s professional work provides students in the Fashion Design and Merchandising program with direct insight into industry practice, mentorship and real-world creative engagement.

Interview

HEAD Geneve presented graduate collections from its MA students at its annual catwalk showcase in November 2025, and one of the talented students who stood out was Swiss-based designer Ewen Danzeisen, who presented 12 all-black looks combining tailoring with functional wear.

Danzeisen’s ‘Meet the Crows’ collection drew inspiration from his own wardrobe, as well as the notion of creating “garments as lived-in experiences” as “silhouettes made to be worn, not seen”. The result was a wearable yet technical streetwear collection, exploring silhouettes and techniques, such as weaving copper fibres into his shimmering bomber jacket, as well as the use of different fabrications and textures, and introducing layering and pleating to enhance his curated palette of black shades.

“I like comfortable things in which I feel contained, safe, and confident, and this is reflected in my collection,” Danzeisen said about his collection backstage. “I’m also half Japanese, so I have a lot of Japanese inspirations, both in the silhouettes, the clean lines, and the relaxed posture. I also worked mainly with black, a spectrum that’s not inviting, yet makes you want to look closer, which I enhanced with textures, such as wool, heavy cotton, and denim, to create contrasts.”

His vision was rewarded with the coveted La Redoute × HEAD Prize, where he will work with the online retailer to develop two non-gender silhouettes for autumn/winter 2026 inspired by his graduate collection.

To find out more about Danzeisen, FashionUnited spoke to him following his graduate showcase about his all-black collection, the techniques used, why he decided to study at HEAD Geneve, and his plans after graduation.

Why did you want to be a fashion designer?

⁠I didn't really dream of becoming a fashion designer; at first, I started studying literature at university. I didn't really fit in, but this period also made me realise how necessary it was for me to work with my hands. So, I naturally started sewing random stuff with my mom's old sewing machine! I had no prior technical knowledge whatsoever, but a few years later, here I am.

The reason that motivates me to keep doing fashion now is that I want to create objects, garments for people to call their own, with and within which they can feel safe and contained.

What was the inspiration for your graduate collection?

⁠I drew inspiration from a few different places for this collection. At its core, it stems from my own experience of wearing garments: I need them to make me feel safe and contained, and I want them to also look a bit intimidating - that's when I feel comfortable. So obviously, I drew from my own wardrobe, which ranges from more technical wear to more traditional pieces.

As a matter of fact, those are the two fields I've focused on technically during the past few years: extremely functional wear on one side, and traditional tailoring on the other.

In 'Meet The Crows,' you can find a personal mix of both, a transfer of traditional techniques applied to technical garments, and vice versa.

Lastly, the overall silhouettes and lines are heavily inspired by my Japanese heritage, sharp lines with ample shapes, lots of layering, pleats, and a carefully curated palette of black shades. That last element was key, because I'm shy, and because it forces you to come closer to appreciate the details.

In Japan, standing out and taking too much space in public is frowned upon, so the use of different blacks of various contrast, texture, and shininess allowed me to create depth in my silhouettes while keeping them soft and not obnoxiously loud.

What fabrics/techniques did you use in your graduate collection?

This collection was a way for me to apply my technical skills in both traditional tailoring/handwork and extreme technical/functional wear. Naturally, you can then find a wide range of fabrics throughout the collection, such as shiny smooth nylons and membraned hardshells, but also heavy cottons, wool, and overall warmer feeling fabrics.

Since I wanted this collection to be made to be worn and experienced, the inside of the garments are super important, and some of them were constructed from the inside out. The bomber, for example, was built this way; the padding layer and lining were entirely hand-stitched using tailoring techniques to ensure a seamless and comfortable experience for the wearer, giving shape to the space for the body. Overall, a lot of care and attention went into the actual sewing. I wanted well-made, durable garments — silhouettes made to be worn, not seen.

Lastly, I had the amazing opportunity to be sponsored by GruppoCinque, an Italian textile manufacturer that I've been working with for a couple of years now. They invited me to their headquarters and factories near Como, and we worked together to develop a few key fabrics for the collection. They allowed me to tweak the texture, the feel, and the aspect of the textile. A large portion of the amazing fabrics you see in the collection is from them.

What are the signature piece/pieces in your MA collection?

⁠I would say the signature pieces are obviously the bigger ones — the huge crow coat, the metallic bomber, the leather jacket. But at the same time, it was important for me to develop a coherent line of garments. As such, even the smaller pieces like the 'crow beak' caps and the pleated hakama pants feel like signature pieces.

What did it mean to you to win the La Redoute × HEAD Prize?

I'm super glad I got this award. It feels like a very realistic one, since I get to develop a capsule collection with La Redoute. I'm very thankful for that. It also really aligns with my vision of fashion, which is making stuff that people can actually get to wear.

Why did you choose to study at HEAD - Geneve?

⁠I had really no idea what fashion was like when I applied - to be honest, I dropped out of university to apply to the fashion prep class and went in blindly. After the bachelor’s degree, I felt really confident that I wanted to pursue the master's degree there as well.

HEAD - Genève was an amazing place for me to hone all my technical skills during my BA, and I was allowed to deepen and sharpen my vision during my MA. The wide range of infrastructure and machines was also key to developing such a collection, to make actual garments meant to be worn. This place ended up feeling like home — the people there made all the difference.

What was the most valuable thing you learned on your course?

⁠On one hand, early in my studies at HEAD, definitely the technical skills. This is the first aspect of fashion I fell in love with, learning to use my hands to make stuff. This is still what I love most about doing fashion. On the other hand, I also learned to use my eyes and my head more sharply, and to understand and make sense of what I'm doing.

In the MA, you need to take a stance as a designer. You need to find your positioning in the current state of things, and just doing nice and beautiful things isn't really the main point anymore. I think grounding my work in a realistic context was essential.

What do you wish you had been told before you started your MA?

I don't know what I'd have liked to hear before the MA. I think I had a clear enough picture of where I was going as I started. When I applied for BA, though, I was pretty naive. What I wish I had heard earlier at that point would be "stitches don't sell, images will". As someone essentially passionate about craft and approaching fashion as a way to make tangible objects rather than images to generate buzz, I think that it would have been nice to be disillusioned earlier.

What are your plans now that you've graduated?

⁠I want to keep a hands-on approach to fashion. It's really important to me that I keep making and sewing garments. I'd like to open a boutique in Switzerland, a place to create, but also meet people, share ideas, visions, and knowledge, where your relationship with garments remains intimate, realistic, and tangible. There are tons of amazing people I met so far, and the collaborative aspect of my work needs to stay and grow.

I also think made-to-measure and bespoke tailoring need to come back. I want to work with my clients to deliver something unique for them.

What advice would you give someone considering studying fashion?

Go for it! Go all in. Please don't think you need to come from a certain place to make fashion — this isn't true.

But also, be aware of what it really is: the industry sucks, the opportunities suck, the pay sucks. I'm speaking broadly, of course, but this isn't the most welcoming market out there. There are always ways, though, and most importantly, people who will share your vision of what fashion should be. And at the end of the day, that's how I wish people would make fashion — the way they think it should be done, not just following the status quo.

Heritage outerwear brand Barbour has announced a new education initiative in partnership with the British Fashion Council (BFC) that aims to support emerging talent across the UK fashion industry. The programme expands the Barbour Foundation’s commitment to education and community impact following the brand’s growing international success, according to the Retail Times.

The collaboration will create opportunities for students and early-career professionals to access skills development, mentorship and industry insight, with a focus on practical training in design, craftsmanship and business. The scheme forms part of a broader effort to give back to the fashion and textile ecosystem while fostering the next generation of creative talent.

Barbour’s global growth has enabled the brand to increase investment in social impact programmes, with the Foundation prioritising initiatives that reduce barriers to entry and support sustainable career pathways in fashion. According to company leaders, the new partnership with the BFC reflects a shared goal of enhancing access to high-quality fashion education in the UK.

Further details on eligibility and programme structure are expected ahead of the initiative’s official launch later this year.

LIM College has announced that Elyce Arons, Founder and CEO of Frances Valentine and co-founder of Kate Spade New York, will deliver the keynote address to the Class of 2026 at the college’s annual commencement ceremony. Arons will also be honoured with an Honorary Doctor of Commercial Science degree and the institution’s Distinguished Achievement Award.

The ceremony is scheduled for May 17 at 1 p.m. ET at David Geffen Hall, Lincoln Center in New York City. Arons brings more than three decades of experience in the fashion industry, including building Kate Spade into a globally recognised lifestyle brand and launching Frances Valentine in 2016 alongside Kate and Andy Spade.

Her memoir, We Might Just Make It After All, which reflects on her long professional partnership and friendship with Kate Spade, debuted on The New York Times Best Seller list in 2025. Arons also serves on the board of the LIM Fashion Education Foundation, supporting scholarships and educational enhancements for students.

LIM College President Ron Marshall said Arons exemplifies the creativity and leadership students aspire to as they prepare to enter the fashion and lifestyle industries.

Fashion design students at Arizona State University (ASU) are earning recognition and real-world experience through collaborations with major luxury brands as part of their undergraduate coursework. The programme has connected students with established industry partners, providing opportunities to work on professional briefs, develop portfolio-ready projects and engage with global fashion standards.

The initiative spans areas such as design, textiles, merchandising and brand strategy, with students presenting work to designers and executives from leading luxury houses. In several cases, participants have received mentorship, internships and direct feedback from industry professionals, supporting their transition into competitive fashion careers.

Faculty and programme leaders say these partnerships enrich ASU’s fashion curriculum by integrating academic study with practical industry exposure, helping students build the technical skills, creative confidence and professional networks needed to succeed after graduation.

ASU has positioned the programme as part of its broader commitment to experiential learning in arts, design and fashion education, attracting growing interest from prospective students and fashion industry collaborators.

The Fashion Heritage Network Cyprus (FHNC), a youth-led initiative supported by the Royal Commonwealth Society, is working to preserve and redefine Cyprus’s traditional fashion heritage through sustainable fashion and art. The network pairs emerging Cypriot designers with heritage researchers, artisans and sustainability mentors to create contemporary designs rooted in local craft traditions.

Founded four years ago, FHNC aims to bring endangered traditional techniques — such as Lefkaritiko embroidery, weaving and natural dyeing — into contemporary fashion practice. Participants in the network’s accelerator programme take part in workshops, hands-on craft training and museum visits, culminating in public exhibitions that highlight innovative, zero-waste approaches to design.

One recent outcome was Crafting Continuity, a bi-communal exhibition in Nicosia that showcased fashion pieces blending heritage techniques with modern creativity and sustainable materials. The event also featured Defteri, FHNC’s first independent publication, which explores fashion, cultural memory and sustainability through essays, interviews and visuals.

FHNC’s work bridges generations and communities, engaging both young creatives and traditional artisans while contributing to cultural preservation, environmental awareness and inter-communal dialogue on the island and beyond.

The Max Mara Art Prize for Women is entering a new international phase, with the long-running award set to become nomadic and travel to a different country for each future edition. The tenth edition (2025–2027) will partner with Museum MACAN in Jakarta, marking the prize’s first collaboration in Southeast Asia.

Curated by Cecilia Alemani, Director and Chief Curator of High Line Art in New York, the new format expands the prize’s geographic scope while maintaining its core mission of supporting emerging and mid-career artists who identify as women. Alemani will work with local institutions worldwide to select host countries and juries for each edition.

Founded in 2005 by Max Mara in collaboration with Collezione Maramotti, the prize concludes its long-standing partnership with London’s Whitechapel Gallery after two decades. The initiative continues to offer winners a six-month residency in Italy, culminating in solo exhibitions at the partner institution and at Collezione Maramotti.

Max Mara said the shift reflects a commitment to cultural exchange, gender equity and expanding global dialogue within contemporary art.

International fashion brand Mango has launched Craft Your Future, a new education programme designed to strengthen craftsmanship and technical skills in the fashion industry. The initiative, developed in collaboration with LCI Barcelona School of Design, aims to train emerging professionals in pattern making, industrial garment construction, digital prototyping and quality control.

The five-month course, subsidised by Mango and held at LCI Barcelona’s campus, brings together around 20 participants, including fashion design students seeking specialist technical training and young professionals updating their expertise. The programme combines practical, real-world training with collaborative projects that address current industry challenges, including sustainability and digital innovation.

The initiative is part of Mango’s 4E Strategic Plan, specifically the Elevate pillar, which emphasises craftsmanship, aspirational design and quality rooted in the brand’s Barcelona heritage. Mango executives say the programme is intended to support generational renewal in essential fashion disciplines and offer young talent professional development opportunities.

Participants will complete a final project and present prototypes before a professional panel of judges, further bridging education with industry experience.

Second-year students from Loughborough University’s School of Design and Creative Arts have earned praise from high-street retailer NEXT after designing sustainable capsule collections for a live industry brief. The project challenged students to develop six-look ranges that combine trend-relevant fashion with environmental responsibility for a proposed NEXT sub-brand.

Over six weeks, participants explored sustainable design and manufacturing approaches, including zero-waste and subtraction cutting techniques, while balancing commercial appeal with responsible fabric choices. Students also visited NEXT’s head office, gaining insight from design and buying teams into the realities of commercial fashion.

Retail industry expert Tom Pearce, NEXT’s Menswear Design Manager, reviewed submissions and selected Maithili Deshpande as runner-up for her Reworked Denim collection and Lily Jaques as overall winner for her NEXT Revive line, created from deadstock and returned garments. Pearce praised the students for their creativity, craftsmanship and trend awareness.

Programme leaders said the collaboration strengthens student employability and bridges academic learning with real-world industry practice.