On June 16, 2026, Lisaa Mode celebrated its fortieth anniversary at the Élysée Montmartre with a show revealing the new generation of designers from its Bachelor of Fashion Design programme. Anaïs Sibran, Théo Pires-Fernandes and Kuan-Ly Yu-Kui were awarded prizes.

“At this very special moment, I think of those who built this school, step by step. My predecessors, the teachers, the teams,” said the director of Lisaa Mode, Karel Mills, at the end of the show. “Tonight, seeing these young talents, I am truly moved and convinced that we still have many great chapters to write.”

The show, whose artistic coherence captivated the audience, saw three students receive awards.

Lisaa Mode 2026 grand prix: Anaïs Sibran

Anaïs Sibran's collection, “Victime de la mode”, denounces the seams of a world where war is profitable. A world where the planet is expendable and humans become interchangeable. Each garment becomes a scar of the system, a trace left by profits built on ruins. Thanks to this award, Sibran will be able to show at Milano Moda Graduate.

Audience award: Théo Pires-Fernandes

The story of Théo Pires-Fernandes' collection, Die Hochzeit, tells of: “an Alsace that is better left unspoken. Two bourgeois wine-growing families organised a wedding without limits. Behind the half-timbered facades hid decadence; power; and an obsession with appearances. The rooms suffocated under hunting trophies, while the guests transformed into hybrid creatures, half-human, half-beast. As the night wore on, luxury became an elegant monstrosity: a ritual of decadence”. Thanks to the Audience Award, Pires-Fernandes will show in Cape Town.

Mixte magazine's favourite: Kuan-Ly Yu-Kui

Kuan-Ly Yu-Kui's Maloy Aho collection was born of anger, sadness and frustration. Each silhouette echoes stories that have been erased, transformed or silenced, linked to identities shaped by history. Of Malagasy origin, Maloy Aho evokes the idea of “speaking” and “expressing oneself”, in resonance with Maloya, a traditional music from Réunion that carries memory. His aim: “to make a long-silenced voice heard”. Yu-Kui receives a one-year subscription to Mixte magazine.

“Entering fashion today means choosing a demanding field, one that is in the midst of transformation,” concluded Karel Mills. “They arrive prepared. More than that: they arrive alive, clear-headed and determined. Watch them carefully. Challenge them. Support them. They are the ones already drawing the outlines of tomorrow.”

Kent State University has announced plans to establish a new campus in Rwanda, with a proposed School of Fashion designed to expand access to fashion education and support the development of Africa’s growing creative economy.

Unveiled during the Kent State University Fashion Symposium 2026 in Kigali, the initiative was presented in partnership with Rwanda’s Ministry of Trade and Industry and Ministry of Education. The event brought together government officials, educators, designers and industry representatives to discuss the role of fashion education in strengthening the continent’s textile and apparel sector.

Subject to accreditation and regulatory approval, Kent State University Rwanda plans to offer a Bachelor of Arts in Fashion Design and a Bachelor of Science in Fashion Merchandising. The programs will be based on Kent State’s School of Fashion in the United States, which the university says is ranked among the top fashion programs globally.

According to the university, Africa’s creative economy is valued at more than $58 billion, but the fashion sector faces challenges including limited access to specialized education, fragmented supply chains and reliance on imported textiles and products. The proposed Rwanda campus aims to train designers, merchandisers and entrepreneurs to help develop local fashion businesses and manufacturing capabilities.

“We have ambitious plans,” said Marcello Fantoni, dean and vice president of Kent State’s College of Honors and Global Education. “With this fashion school, we hope to make Rwanda even further a hub and a destination for international students for a much broader region in sub-Saharan Africa.”

Rwanda’s Minister of Trade and Industry, Antoine Kajangwe, said collaborations between education and industry can create opportunities for economic development and innovation. The symposium included a keynote on Africa’s creative industries, panel discussions with stakeholders and a showcase featuring local Rwandan designers.

The proposed campus builds on a broader relationship between Kent State and Rwanda that began in 2022 with the opening of the Kent State Sub-Saharan African Center in Kigali. The university has since developed partnerships in areas including peace and conflict studies, aerospace engineering and aviation training with RwandAir.

For fashion educators, the initiative highlights the growing role of international partnerships in expanding fashion education and strengthening regional creative economies. For students, the proposed campus could provide new opportunities to study fashion design and merchandising within Africa while building connections to global industry networks.

India’s Lovely Professional University (LPU) is highlighting its School of Fashion Design as a hub for creativity, technology, and industry engagement, emphasizing a curriculum designed to prepare students for evolving careers in fashion.

According to the university, the program combines traditional design skills with training in textiles, garment manufacturing, fashion marketing, sustainability, and digital tools. Students study areas including pattern making, garment construction, dyeing, printing, and fashion illustration while gaining access to specialized design studios and laboratories.

LPU says its curriculum is regularly updated to reflect international industry developments and incorporates topics such as entrepreneurship, innovation, and sustainable practices. Industry professionals also contribute through workshops and seminars aimed at providing insight into current market expectations.

The university places a strong emphasis on experiential learning, encouraging students to participate in fashion shows, exhibitions, competitions, and industry-linked projects. International collaborations and exchange opportunities are also intended to expose students to global trends and cross-cultural perspectives.

LPU reports that its School of Fashion Design maintains partnerships with universities, organizations, and brands in India and abroad, including collaborations with academic institutions and industry associations. The school offers undergraduate and postgraduate programs and recently opened admissions for 2026.

For fashion educators, the program reflects broader trends in fashion education, where creative development is increasingly integrated with digital technologies, sustainability, entrepreneurship, and international engagement. For students, it illustrates how institutions are adapting curricula to meet changing industry demands and expanding career pathways across design, merchandising, retail, and entrepreneurship.

Branded merchandise may be ubiquitous, but much of it is produced from fossil-based materials and often discarded after limited use. A new collaboration between Imperial College London and Bristol-based biomaterials company Ponda aims to offer an alternative by introducing plant-based insulation into university-branded apparel.

The partnership will see Imperial-branded products including a gilet and cap launched this autumn through the Imperial College Union Shop. Both products will feature BioPuff, a material developed by Ponda from bulrush grown on restored wetlands through paludiculture, a form of agriculture carried out on rewetted peatlands.

Founded in 2020 by Imperial alumnus Julian Ellis-Brown, Ponda focuses on developing regenerative textile materials linked to ecosystem restoration. According to the company, each BioPuff-insulated gilet corresponds to four square metres of healthy wetland, helping to avoid carbon emissions while supporting biodiversity and water retention.

The collaboration forms part of Imperial's Sustainable Imperial strategy, which focuses on addressing climate change, biodiversity loss and pollution through research, operations and community initiatives. Professor Anna Korre, associate provost for sustainability at Imperial, said the partnership highlights how university innovation can contribute to more sustainable products and supply chains.

Ponda's BioPuff insulation has already been used by brands including Stella McCartney, Berghaus, Ahluwalia and Sheep Inc. Earlier this year, the company exhibited at the Sustainable Markets Initiative CEO Summit at Hampton Court Palace, where it was recognised through King Charles III's Terra Carta Design Lab.

The company is also seeking to scale production through a crowdfunding campaign on Republic. The initiative follows a 2.4 million dollar seed funding round co-led by Faber and Counteract and brings Ponda's total funding to date, including grants and awards, to 6.6 million dollars.

For Ponda, the Imperial collaboration serves as a demonstration of how branded merchandise, often viewed as a disposable category, could become a vehicle for supporting regenerative supply chains and lower-impact materials.

For the second year of the project, Aspesi Studio has launched a collaboration with Polimoda. The initiative was developed as part of Window to wonder, a new chapter of the Case of wonders format. Created by Fabio Messana and Paolo Convinto, the format invites students to engage with real briefs from the creative industry.

The project featured students from the Fashion Styling course, who were tasked with developing a visual merchandising proposal for Aspesi based on a simple, open-ended keyword: pool. Divided into four groups, the students took part in an intensive two-day workshop in close collaboration with the brand's team. Following an in-depth study of the brand's universe, each group developed a comprehensive proposal, including creative concepts; mood boards; styling direction; scenographic design; and display setup.

The process concluded with the implementation of the selected proposal for one of the windows at Aspesi's Florence flagship store: “Underwater treasures”. This project reflects on the theme of memory in the digital age through an immersive and contemplative visual language.

Titled “Memories are what remain”, the window display stems from a reflection on the value of memories and their preservation in the contemporary world. While memory once found its place in objects, albums and physical locations, today it is stored within the devices that accompany our daily lives. Images, thoughts and fragments of life are collected in personal archives that are always accessible, yet fragile.

The exhibition space is transformed into a submerged, suspended and silent landscape where time seems to slow down. Water becomes a metaphor for protection and safekeeping, an environment capable of preserving what truly matters. At the centre of the scene, a device emerges, treated as a contemporary treasure, surrounded by reflections, suspended elements and images that dissolve and reappear like memories. Rather than representing a real place, the window display constructs an emotional state. A sanctuary dedicated to memory, where the superfluous disappears and what remains takes on new meaning.

Fashion students from KASK & Conservatorium's School of Arts Gent will present their graduation collections during two runway shows on 27 June, bringing the annual showcase to the Gent Jazz tent on the Bijloke site in Ghent.

The event will feature work from students across the programme, with bachelor's students presenting thematic silhouettes and early collections, while master's students will unveil their final graduation projects. Shows are scheduled for 4 p.m. and 8:30 p.m., with tickets available to the public.

Among the master's students presenting collections are Dorien De Kesel, Eliot Ogiers, Mathilde Varcin, Merel Vandevoorde, Nora Montald, Rowan Boeijen, Harry Van Noten and Yajing Weng. Visitors can preview some of the projects through the Graduation 2026 platform ahead of the runway presentations.

In the lead-up to the event, bachelor's students have brought fashion beyond the campus through a shop window initiative running from 13 to 24 June. Their designs are being displayed in more than 30 independent stores across Ghent, creating a route through the city intended to introduce the public to emerging fashion talent while strengthening ties between education and local retailers.

The fashion shows form part of Graduation Exhibition 2026, taking place from 25 to 28 June on the Bijloke campus. In addition to the runway presentations, visitors can attend exhibitions, performances and installations showcasing work across disciplines.

First-year fashion students will also take part in the programme, accompanied by live music from jazz and pop student Niels Braeckmans and his band, Trapped Ants. Third-year student May Nillesen will present an exhibition in the Gaanderij at the Arts Library, featuring performances throughout the day.

Attendees with tickets to the fashion shows will also have access to an after-party featuring a silent disco, extending the celebrations into the night.

The annual graduation presentations provide a platform for emerging designers to showcase their work to the public and industry audiences as they prepare to begin their professional careers.

Design Academy Eindhoven (DAE) and its Trans Realities Lab (TRL) have been awarded €650,000 as part of a European Union-funded research initiative exploring the cultural and social impact of persistent virtual worlds. The funding forms part of the €3.5 million VOPUS (Virtual World Opera for Participation, Unity, and Social Cohesion) project, a 36-month Horizon Europe programme involving nine partners across six countries and coordinated by Aalto University in Finland.

The project examines how increasing participation in virtual environments may affect social cohesion, wellbeing and cultural identity, using opera as a case study. It also aims to investigate how digital and persistent worlds could help cultural institutions reach wider audiences and strengthen the long-term resilience of European cultural heritage.

As the consortium's primary technical partner, DAE will lead the design, development and operation of Operaland, a persistent virtual world environment built on open Web 4.0 standards including glTF 2.0, OpenXR, WebXR and WebGPU. The platform is intended to avoid vendor lock-in and provide a reusable infrastructure that can be adopted by cultural institutions across Europe.

The project represents the first large-scale application of a new open platform core developed by the Trans Realities Lab. The technology builds on the lab's previous XR-IT project, which reached Technology Readiness Level 8 and culminated in Cat Content, described as the world's first live motion-capture animated film produced simultaneously across locations in Finland, the Netherlands and Germany. The production received the International Production Award at Hamburg's Next Reality Festival in 2025.

Dr Ian Biscoe, professor of Transdisciplinary Design Networks at Design Academy Eindhoven and founder of the Trans Realities Lab, said the project builds on years of research into distributed virtual production and open digital infrastructure. He described persistent virtual worlds as one of the defining cultural questions of the coming decade and argued that European institutions should play an active role in shaping their development.

Beyond technology development, VOPUS brings together expertise from research, performing arts and industry. Partners include Digital Catapult in the UK, Universitat Autònoma de Barcelona, Fundamental Research in Belgium, the Finnish National Opera and Ballet, Staatstheater Augsburg, State Opera Stara Zagora and Sunderland Software City.

The project also reflects Design Academy Eindhoven's broader involvement in European initiatives around virtual worlds and immersive technologies. The Trans Realities Lab participates in the EU VR/AR Coalition, the Virtual Worlds Association and the Metaverse Standards Forum, with the VOPUS project expected to contribute to future standards development in the sector.

On June 18, the Centro Superior de Diseño de Moda de Madrid of the Polytechnic University of Madrid (CSDMM-UPM) presented more than 100 looks developed by its students during a new edition of Opening Night, the centre's annual show. The event coincided with the institution's 40th anniversary and the announcement of its upcoming move to the Retiro Building, located in the Paisaje de la Luz.

“This show is a tribute to our legacy and encourages us to keep looking to the future,” highlighted Guillermo García Badell, director of the CSDMM, during the event.

The show brought together work created by the centre's students as part of a training programme that includes professionals such as Ana Locking, Juan Vidal, Carlota Barrera, David Salvador and Miguel Becer among its teaching staff. The CSDMM has also developed academic projects in collaboration with companies such as Tendam, Mango and H&M.

This year's edition of Opening Night, held at the IES San Isidro, was supported by Madrid Capital de la Moda, ACME, Asecom and Momad-Ifema. Considered the centre's main academic event, the show has previously been held in venues such as the Museo Reina Sofía, the Teatro Real and Ifema Madrid.

Founded in 1986, the centre claims to be the only Spanish academic institution offering a complete university education in fashion. Its curriculum comprises an Official Degree in Fashion Design; a Double Degree in Fashion Design and Commerce with the Complutense University of Madrid; and a Master's Degree in Fashion Technology and Innovation. In 2016, it received the National Fashion Award.

Yevheniia Mizevych, a Ukrainian footwear student at the London College of Fashion (LCF), has won first prize in the design category at the 13th annual Cordwainers Footwear Awards, which were held in London on June 11.

Mizevych, who has done internships with Burberry, Phoebe Philo and Hunter Boots, impressed the Cordwainers judging panel with her ‘The Mine’ submission, which drew inspiration from her family’s heritage “with pit ponies and coal mine conveyor belts”. As the winner, she receives 3,000 pounds.

Second place, with a cash prize of 2,000 pounds, was awarded to Ceci Sariol, LCF, for her surreal, sculptural designs, while third place, with a 1,000-pound cash prize, went to Silva Coco, LCF, for her experimental erasable, graphite shoe that leaves a trace as it wears away.

The coveted Stuart Weitzman Award for Creativity was awarded to Anna Boutashkova of the Royal College of Art (RCA), whose submission, ‘Objects of Continuous Gestures,’ was praised for its “fluid beauty,” drawing inspiration from her background in classical ballet and costume. The honour comes with a cash prize of 1,500 pounds.

Cordwainers honour footwear students and Manolo Blahnik at annual awards

There was more success for LCF in the Cordwainers Craft of Shoemaking 2026 award, with the first prize awarded to Matthew Gill, for his exploration of wool and leather boots as “objects of skills, failures, affordances and tactile engagement”. He receives 3,000 pounds and 12 days of tuition with bespoke shoemaker Carréducker.

Second place went to full-time engineer Damon Ma for his metallic green, storm-welted monkey boots, and third place to luxury leather artist Ross Edwin Bell with a pair of riding boots, which were praised for their “elegant simplicity belying a complex handsewn construction”.

There was also a new award for 2026, an ‘Emerging Sole’ award named in memory of the late Daniel Charkow, a young Canadian footwear designer who trained at LCF and worked for Sophia Webster before his untimely death in 2024. The inaugural award was presented to LCF’s Haiyu Bo, who impressed the judges with her “creativity, depth of thought, and conceptual approach,” which they state embodied Charkow’s design vision. Her work is driven by a fascination with forms that “feel fragile, light and full of tension,” and explores the space between material, structure and the body, merging sculptural ideas with the practical demands of shoemaking.

Commenting on the calibre of this year’s submissions, Katie Greenyer, chair of the design judging panel, said in a statement: “Student design awards should always push boundaries. They’re about more than commercial potential, they’re a platform for bold ideas, experimentation and creative expression. The catwalk is where those ideas truly come alive.”

In addition to the student awards, footwear legend Manolo Blahnik was also awarded the Sue Saunders Award for Excellence “in acknowledgement of his dedicated commitment to creativity and craftsmanship”.

Students from Southampton Solent University presented their work and gained valuable industry exposure during the 35th edition of Graduate Fashion Week, held at the Truman Brewery in London's Brick Lane.

The university attended the annual event with 13 students shortlisted across 17 award categories, including moving image, fashion photography, styling, marketing and inclusive design. Solent's exhibition stand featured a range of final-year projects spanning fashion films, photography, publications, marketing campaigns and design concepts.

Throughout the four-day event, students engaged with recruiters, employers and fellow creatives, while participating in portfolio reviews, career talks and networking sessions. Across the venue, universities from the UK and abroad showcased graduate work through exhibitions, catwalk presentations and film screenings.

Fashion design student Belle Fletcher presented her final collection on the Liberty Fabrics catwalk, describing the experience as an important opportunity to share work developed largely in the studio with a wider audience and build professional connections.

Alongside those exhibiting, students from Solent's Makeup and Hair Design programme worked backstage on catwalk shows, gaining hands-on experience creating runway looks. Lecturer Charlotte Logue said the experience offered students a close insight into the pace and demands of the fashion industry.

In the event's cinema programme, moving image projects by Solent students Lily Herbert and Kimi Nimaei were screened alongside work from other institutions. Nimaei said the event provided an opportunity to connect with other creatives and share ideas with people from across the industry.

Graduate Fashion Week also featured a careers area where students could meet professionals working in fashion, media, public relations and marketing, with employers advertising opportunities through a dedicated jobs board.

As Graduate Fashion Week 2026 concluded, participating students left with industry contacts, professional feedback and practical experience gained from presenting their work on one of fashion education's largest platforms.

Amy Brown of the University of Central Lancashire has been named the winner of the 2026 MAXXAM x Graduate Fashion Foundation Design Competition, with the award presented during the Graduate Fashion Week Gala Show in London on 18 June.

Now in its second year, the competition, created by textile innovator and MAXXAM founder Rosemary Moore in partnership with Graduate Fashion Foundation, challenged fashion students from universities across the UK and internationally to design a Spring/Summer 2027 womenswear capsule collection using MAXXAM's seamless four-way stretch textiles.

Participants were asked to develop versatile athleisure-inspired designs with a focus on swimwear, sustainability and commercial appeal. Four finalists were selected to realise one look from their collections, working alongside MAXXAM and its UK manufacturing partners to bring their concepts to life.

Brown's winning collection, The Swim Club: Volume 1, drew inspiration from vintage swimwear and sportswear aesthetics. Featuring bold colour blocking, striped details and adaptable silhouettes, the collection was designed to transition between beachwear and everyday dressing.

The final judging panel praised the standard of entries and the finalists' ability to translate concepts into finished garments. According to Moore, Brown stood out for her strong interpretation of the brief, technical execution and understanding of the creative and commercial potential of MAXXAM textiles.

Brown said the project provided an opportunity to work outside her usual focus on menswear and heavier fabrics, allowing her to explore womenswear design and stretch textiles while gaining experience in product development and textile innovation.

As the overall winner, Brown receives a 250 pound cash prize, the MAXXAM x Graduate Fashion Foundation trophy and ongoing mentoring opportunities with Moore and the MAXXAM team. Elements of the winning collection may also be considered for future commercial development.

The competition forms part of Graduate Fashion Foundation's wider efforts to connect emerging designers with industry partners and provide students with practical experience as they prepare to enter the fashion sector.

On July 1, José Teunissen will step down as head of programme at the Amsterdam Fashion Institute (AMFI). After three years, Bregje Lampe will take over her role. Teunissen will remain as interim dean at the Amsterdam University of Applied Sciences (HvA). How does she reflect on shaping the curriculum during a particularly challenging time for fashion?

You arrived when the organisation was in disarray. What did you find?

"There was a lot of division within the teams and the organisation was messy. The first thing I did was connect with the industry and ask professionals what they consider truly important for the course in this day and age."

What did that yield?

"We created a new curriculum centred around the core specialisations AMFI is known for: branding, design and management. The idea of making this more hybrid received criticism from the industry. The school's original philosophy has always been to have these three core disciplines in-house, because you will inevitably deal with them when working in the fashion industry. I found that a great starting point."

What distinguishes AMFI from other fashion schools?

"Other fashion schools in the Netherlands are more artistically focused. AMFI aligns with the business reality of the industry and collaborates with it extensively. We have collected hundreds of internship placements, ranging from marketing to branding."

How do you involve the industry?

"We organise discussion evenings. On July 1, there is the graduation event where branding and management students present their work through pitches and panel discussions. We invite everyone we know. There are also ongoing European projects with partners. We are researching what needs to be included in the curriculum to properly address sustainability and digitalisation. We are also developing new material that design students can use immediately."

The text continues below the image

What have you achieved at AMFI in three years?

"We have brought back AMFI's strengths, which were always there, and updated them. Circularity and sustainability now require a very different approach than ten years ago, when you only considered the material you used. Digitalisation has also become much more than just digital design. With your PLM system and tools like CLO3D, you can now create the entire sampling process around it. There are many more possibilities than there were back then."

Which themes have become more prominent?

"Digitalisation took shape early on at AMFI with the 'hypercraft' minor, which focuses on digital product development. In management, students now focus heavily on AI and data analysis. These two areas are changing the industry enormously. As a lecturer, you have to make a significant effort to keep up because things are moving so fast. In design, pattern cutting is now taught both digitally and manually. You need technical insight to understand how to do it digitally.

Sustainability has also been part of the curriculum for a long time. We have provided further training for lecturers on topics like European legislation and sustainable fabrics. We put together a ten-morning course with expert speakers. They discussed topics including legislation, which is causing a lot of change, and the R-ladder used by brands and policymakers for the transition to circular textiles. At the end, the lecturers had to present how they would incorporate this knowledge into the curriculum."

How do you ensure lecturers keep up?

"Lecturers do not need to know everything, but they must continue learning. That is why we actively offer further training and invite speakers from the industry to talk about AI: how do they use it in practice?"

What role does ethics play in the programme?

"We look not only at prestigious internship placements but also at whether companies treat students well. Exploitation, especially in studios, is a classic risk. We are also working on diversity in the curriculum, particularly in design, including larger sizes and non-Western styles. It is important to maintain this, especially now that fashion is heading in a slightly different direction again."

What is the ambition for students leaving AMFI?

"We want to be at the forefront of the field and train our students to help with the industry's transition. You have to make students aware of what they are contributing to, while also giving them the courage and hope that it matters. It is a matter of teaching and offering accessible interpretations and solutions they can apply themselves. You can now sell your T-shirt via Instagram. “Fashion has become more accessible; you can do things in ways that did not exist until recently.”"

Achievements in branding and management are less visible than in design.

"Yes, promoting those final results is more difficult than putting on a fashion show, but there are some very interesting projects. For example, one student made an existing jewellery brand's website more user-friendly for an older clientele, so they could better navigate the product range."

What are you most proud of?

"The graduation events. There you see a wide variety of what students are working on. They are truly engaged and trying to find solutions in this complex world. I am pleased that after three years of hard work, AMFI is once again a strong programme."

Which project stands out to you?

"De Klerenpartij (The Clothes Party): a fictional, activist political party set up in 2025 by AMFI and Changency. The idea originated from a workshop with lecturers, students and companies about new values and a new narrative for fashion. Through the party, the clothes were given 'agency'. We created special headwear, held a protest and were even arrested by the police, even though none of it was real. A follow-up session took place in the council chamber in Arnhem with real aldermen. It was a fun spin-off from something that started small."

The text continues below the image

What is next for AMFI?

"We are moving to a new building, which will allow us to think about the facilities we need. The current building is beautiful but also impractical and inefficient. It was difficult for people to find each other there."

You are moving to an interim position as dean of Digital Media and Creative Industries (FDMCI) at the HvA. You mentioned in a previous interview that this was necessary.

"A lot is happening at the HvA with the budget cuts. Searching for an external dean takes much longer. That person has to resign from their job, move here and get settled in. I do not have to do any of that. It was never my plan. However, given the current circumstances and everything happening within this faculty, I am happy to pass the baton to Bregje."

How do you see the importance of the creative industries today?

"Creativity connects people. It makes change visible and emphasises the human scale. It is too quickly dismissed as an unnecessary luxury, when in fact it is essential. It is vital not only for enjoyment in life but also for giving meaning to things and determining what truly matters. Creativity shapes the value of things."

After London College of Fashion and AMFI, you are now choosing a different field. Will you miss fashion?

"Fashion is a fun environment to work in, if only for the way the students dress. I will miss that exuberance a little. AMFI is part of this faculty, so I will continue to follow them, albeit from a distance.”

Shopping centre giant Westfield has turned to students of UAL’s Central Saint Martins (CSM) to explore the future of retail and mixed-use destinations.

In a seven week programme running between April and June 2026, Westfield worked with around 40 postgraduates from the MA Innovation Management course to develop concepts responding to emerging consumer expectations.

Through a structured programme, participants questioned how large-scale retail destinations could evolve into integrated environments, bringing leisure, culture and community under one roof.

Using Westfield’s London and Stratford City sites as case studies, themes included the role of retail destinations as social and cultural infrastructure; new models for experiential and community-led spaces; and sustainable or circular approaches to large-scale commercial assets.

Final concept proposals will ultimately be presented to Westfield, with selected concepts to then either undergo further development or real-world pilots. Those selected must bring a future-focused lens to established formulas, while aligning with Westfield’s evolution ambitions and changing consumer behaviours.

A public exhibition will be held in London in August 2026, showcasing selected proposals to industry leaders, brand partners and the creative community.

In a statement, Westfield’s MD, customer and retail operations for Northern Europe, Katie Wyle, said: "As customer expectations evolve, it is important that we continue to explore new ideas and perspectives that can help shape the future of our UK destinations.

“This collaboration with CSM brings together emerging creative talent and practical industry expertise to examine how retail, leisure, culture and community experiences can continue to develop within major urban destinations. The partnership provides an opportunity to explore a new generation of ideas that could help inform the future evolution of our destinations."

The winners of the inaugural Miss Sixty Future Denim Lab Awards have been revealed. The initiative, held in collaboration with the University of the Arts London (UAL), Central Saint Martins (CSM), looks to acknowledge emerging names in circular denim design and research.

The Miss Sixty Future Denim Discovery Prize has been awarded to MA Fashion student Alexander Ziemba, while the recipient of the Miss Sixty Future Denim Design Prize is Shane Elias, a BA (Hons) Fashion Design: Communication student.

The winners were selected during a judging event where they presented their work to industry professionals at Miss Sixty, the British Fashion Council, and CSM, as well as denim specialist Paolo Fuligni and British journalist Katie Grand.

The award is embedded within CSM’s Material School, in the Future Denim Lab, which is part of a five-year partnership launched in 2025 between the university and Trendy International Group, developed alongside Miss Sixty.

The lab serves students through research-led teaching and experiential learning, with a focus on advancing circular denim systems.

In a statement, professor Rathna Ramanathan, provost of CSM and executive dean of global affairs, said: “The Future Denim Lab Awards celebrate a new generation of designers rethinking what denim can be.

“Through the lab and our partnership with Miss Sixty and Trendy International Group, students work on denim as both culture and system. The awards recognise experimentation and material thinking that can shift an industry.”

Toronto Metropolitan University is strengthening its position within the growing field of fashion studies through the expansion of the Fashion Studies Network, an academic initiative designed to connect researchers, students and cultural institutions across North America.

Founded in 2023 and led jointly by TMU's School of Fashion and Parsons School of Design, the network was established to foster collaboration between fashion scholars, graduate students and industry practitioners in Canada and the United States. Since its launch, the initiative has expanded to include institutions such as the Fashion Institute of Technology, Bard Graduate Center, New York University and City University of New York.

The network operates through an annual symposium, scholarly publications and a programme of events exploring fashion from cultural, historical, social and political perspectives. In May 2026, TMU's Master of Fashion programme hosted the second Fashion Studies Network Symposium, titled E/Spaces in Fashion, which examined how fashion shapes and is shaped by physical, digital and social spaces. Topics ranged from fashion cities and consumption to questions of access, identity and resistance.

The initiative reflects the growing prominence of fashion studies as an academic discipline. While traditional fashion education has focused primarily on design and production, fashion studies examines the broader cultural, economic and social implications of clothing and fashion systems. TMU's School of Fashion has incorporated this approach into its curriculum through a dedicated Fashion Studies concentration covering subjects such as fashion history, feminism, material culture, post-colonial perspectives and fashion in popular culture.

According to the network's organisers, the goal is to create stronger links between academia, cultural institutions and industry while encouraging interdisciplinary research and dialogue. By bringing together scholars and students from multiple institutions, the Fashion Studies Network aims to support new perspectives on fashion's role in society and contribute to the development of the field internationally.

As fashion education continues to evolve beyond traditional design training, initiatives such as the Fashion Studies Network highlight the increasing importance of critical research, cultural analysis and interdisciplinary collaboration in preparing students for careers across the broader fashion sector.

Global wool authority Woolmark has launched applications for the next edition of its annual International Woolmark Prize, this time with expanded criteria. The platform is now opening up the initiative to designers who have garnered experience within established brands and organisations, alongside those who have built independent labels.

Woolmark said the shift responds to the fashion sector’s increasingly varied career pathways, acknowledging that many designers develop expertise while leading collections, shaping brand direction and driving product innovation before launching their own ventures or continuing to pursue a career within an established setting.

The application process is now underway in eligible markets, after which select designers will participate in various incubation initiatives intended to support creative and commercial development. They will follow in the footsteps of former prize recipients that have previously descended from brands like Yves Saint Laurent, Gabriela Hearst and Bode.

Fashion students at Cambridge School of Visual & Performing Arts (CSVPA) are bringing personal stories and cultural traditions to the forefront of their work after earning multiple nominations and shortlist placements at Graduate Fashion Week 2026.

Among the emerging designers selected for the Graduate Fashion Week Collective Show are Raven, originally from Hong Kong, and Safiya, from Kazakhstan, whose collections explore themes of identity, heritage and cultural storytelling through fashion.

Raven's collection takes inspiration from Yum Cha, the dining tradition that plays a central role in Hong Kong culture. Using dumpling-inspired silhouettes as a foundation, the designer combines unconventional materials including second-hand tablecloths, coconut fibre and hay to recreate textures inspired by traditional dishes. The collection aims to celebrate community, cultural exchange and the importance of preserving traditions through contemporary design.

The designer's experimental approach has earned nominations for the Digital Fashion Award, Pattern Cutting Award, Considered Fashion Award, Fashion Portfolio Award and Fashion Innovation Award. Raven cites John Galliano and Alexander McQueen among key influences and hopes to pursue a future in haute couture after completing postgraduate study.

Fellow BA Fashion student Safiya has been shortlisted for the Cultural Heritage Award with a collection inspired by Kazakh women and traditional Kazakh culture. Drawing on childhood memories of traditional dress and family celebrations, the collection reinterprets carpets—commonly displayed in Kazakh homes—as garments that symbolise strength, resilience and female empowerment.

Using carpets as both a material and metaphor, Safiya challenges traditional perceptions of women's roles, presenting them not as decorative figures but as powerful and independent individuals. "I wanted to show brave Kazakh women who are free," she explained, describing the collection as a tribute to the strength of women and the cultural traditions that shaped her upbringing.

For Safiya, the nomination represents an important recognition of the collection's cultural message. Following graduation, she hopes to gain industry experience through internships before eventually launching her own label, using fashion as a platform to communicate ideas and explore social and cultural issues.

Both designers credit CSVPA's international learning environment and close support from tutors for helping them develop their technical skills and creative confidence. Their collections reflect a broader trend among emerging fashion graduates who are increasingly drawing on personal histories, cultural identity and lived experience to create work that goes beyond aesthetics and engages with wider conversations around heritage, representation and belonging.

As Graduate Fashion Week continues to showcase the next generation of fashion talent, designers such as Raven and Safiya demonstrate how cultural storytelling remains a powerful source of inspiration for emerging creatives entering the industry.

Arts University Plymouth has unveiled its 2026 Ones to Watch selection, highlighting graduating students whose final projects demonstrate the breadth of creative talent emerging from this year's Graduate Shows. The chosen graduates span disciplines including fashion, textiles, photography, illustration, interiors, games, film, fine art and costume production.

The annual showcase celebrates students who are already gaining industry recognition through awards, placements, exhibitions, commissions and professional collaborations. According to the university, the selected projects reflect a graduating cohort ready to contribute across the creative industries, from cultural organisations and independent practice to commercial businesses.

Among those recognised is fashion media and marketing graduate Abigail Logan, whose project Denim Is the Canvas explores experiential retail through a custom denim activation concept for tailoring brand Clements and Church. During her studies, Logan completed a year-long placement with The Walt Disney Company in London and later returned as a freelance junior creative.

Fashion media and marketing graduate Isabel McGregor Cuevas was also selected for her project examining the cultural significance of the Spanish hand fan, or abanico, through photography, styling and creative direction. Her work draws on Spanish visual culture and contemporary performance, while her industry experience includes backstage photography at Copenhagen Fashion Week and successful collaborations with fashion brands and publications.

Also featured in the Ones to Watch selection is fashion design graduate Eloise Bull. Her collection, Embracing Nostalgia, draws inspiration from childhood clothing, self-expression and the enjoyment of dressing for oneself. Referencing vintage childrenswear and garments from her own childhood wardrobe, Bull combines bright colours, mixed patterns, modest silhouettes and altered proportions to create playful yet contemporary designs. The collection responds to concerns around fast fashion and the limited ways fashion often frames the body, offering an alternative centred on quality, individuality and inclusivity.

A technical designer with a strong focus on pattern cutting and garment construction, Bull works primarily with natural fibres such as cotton and linen, finishing garments with carefully crafted bias-bound seams. Beyond the collection itself, she is interested in developing size-inclusive sewing patterns that encourage younger generations to sew, adapt and create longer-lasting clothing.

Elsewhere, textile design graduate Rachel Byrne's research-led project Textile Botanica: The One Pot Colour System investigates botanical dye systems and sustainable colour production, earning recognition from the Society of Dyers and Colourists.

Professor Stephen Felmingham, Pro-Vice-Chancellor (Academic), said the selection reflects the ambition and diversity of creative practice across the university, highlighting graduates who have combined experimentation with professional engagement throughout their studies.

The Ones to Watch announcement forms part of Arts University Plymouth's Graduate Shows 2026, a programme of public exhibitions and events showcasing work from students across art, design, media, fashion, photography, film, animation and illustration during the institution's 170th anniversary year.

A new master's research project at ESCE International Business School in France is exploring how collaborations between luxury brands and hip-hop culture are reshaping perceptions of legitimacy, authenticity, and representation among young people from working-class and underserved urban communities.

Conducted by graduate students Ines Djamil and Chloé Allert as part of their Master's degree in Communication, Luxury and Prestige Marketing, the study investigates the growing connections between luxury fashion houses and hip-hop culture, which the researchers describe as an artistic, musical, and fashion movement rooted in popular and urban communities.

The project highlights how relationships between luxury brands and street culture have evolved significantly in recent years. Once viewed as distinct or even opposing worlds, luxury and hip-hop increasingly intersect through designer appointments, artist collaborations, advertising campaigns, cultural initiatives, and the adoption of streetwear-inspired aesthetics.

Central to the research is the question of how these interactions influence brand legitimacy among younger audiences. The study seeks to understand the mechanisms, motivations, and limitations of luxury brands' engagement with hip-hop culture while examining issues such as cultural representation, authenticity, and social recognition.

The questionnaire asks industry professionals to reflect on a range of topics, including why luxury brands are targeting younger consumers from working-class communities, whether hip-hop culture retains its authenticity when incorporated into luxury fashion, and whether collaborations with artists from minority backgrounds reflect genuine cultural engagement or commercial strategy.

Additional sections explore the symbolic value of luxury products among young consumers, the role of resale, rental, and counterfeit markets, and the importance of long-term community engagement in establishing brand credibility. The research also considers how luxury brands can navigate cultural references responsibly and the potential risks associated with adopting street culture without fully understanding its social and historical context.

For fashion educators, the project reflects broader discussions taking place across fashion business and marketing programmes regarding cultural influence, consumer identity, diversity, and ethical brand engagement. As luxury companies continue to deepen their connections with music, sport, and youth culture, questions surrounding representation and authenticity are becoming increasingly relevant topics for students preparing to enter the industry.

The study contributes to ongoing academic research examining how fashion brands engage with cultural movements and how these relationships are perceived by the communities that helped shape them.

Fashion students from around the world will present collections exploring identity, culture, memory, and social change at the Polimoda Graduate Show 2026, showcasing the diverse creative approaches emerging from contemporary fashion education.

The graduating designers represent countries including Italy, the United States, Armenia, Ukraine, Thailand, Germany, Taiwan, Sri Lanka, and Réunion Island, reflecting the international nature of today's fashion classrooms. Across the collections, students examine themes ranging from queer identity and cultural heritage to digital technology, belonging, grief, and sustainability.

Several projects draw directly from personal experiences. Isabella “Zaz” Alvarino’s Hot Nerds honours a late friend and explores freedom, queerness, and self-expression through tailoring, while Lisa Criaco’s The Pressure uses deep-sea diving as a metaphor for grief and personal transformation. Emily Horton’s Jew…ish examines the intersection of Jewish identity and American baseball culture, exploring questions of community and belonging.

Other collections investigate broader cultural and societal themes. Diana Avetisian’s Another Role explores femininity as performance through references to vintage automobiles and mechanic uniforms, while Matteo Bardi’s VULNERA challenges perceptions of vulnerability within queer communities. Evelina Kryvopust’s UN examines conformity and resistance through the figure of a piano teacher, and Jakob Nittmann’s Unlearning Neutral questions the historical disappearance of colour in menswear.

Digital and physical realities

Technology and contemporary life also feature prominently. Isabel Antonia Richter’s Simulation explores the blurred boundaries between digital and physical realities, while Emilie Wenckstern’s No Longer Human investigates how digital avatars and artificial representations are reshaping perceptions of the human body.

For fashion educators, the collections highlight the growing emphasis on research-led design practice, interdisciplinary references, and storytelling within fashion curricula. Students draw inspiration from film, literature, architecture, art, cultural history, and personal narratives, demonstrating how contemporary fashion education increasingly encourages critical thinking alongside technical and creative development.

The Graduate Show offers a snapshot of the issues and ideas shaping the next generation of designers, reflecting both individual experiences and wider conversations taking place across the global fashion industry.

The Istituto Europeo di Design hosted the presentation of its fashion graduates' collections in Barcelona yesterday. The show brought together industry professionals and specialised press at the historic Palau Reial de Pedralbes venue, as part of the Italian institution's 60th anniversary celebrations.

The 22nd edition of the presentation, titled “Fashioners of the World”, showcased 25 collections from final-year students of IED Barcelona's Fashion Design degree and its international Fashion Design with honours programme.

The proposals stood out for their balanced dialogue between refined craftsmanship and technological innovation. This showcase reflected the new generation of designers' ability to reinterpret contemporary fashion languages. Additionally, the collections addressed issues of particular relevance to the current sector, such as sustainability and inclusion, integrating them not only as concepts but as central pillars of their creative processes.

Fashion creators of the world

At the end of the show, a jury composed of Daniel Face, director of Red Eye Magazine; Sergio Plaza, creative director of Lupo; Stevie Cannell, from Projects + Partnerships at 1 Granary; model Verónica Blume, president of the jury; filmmaker Isabel Coixet; photographer Manuel Outumuro; and illustrator Jordi Labanda, presented awards in four categories.

Jon Navales won the Franca Sozzani Award for Best Collection for “Unsent”, a menswear proposal with Napoleonic and military references in neutral tones. According to the jury, it successfully combined tradition and modernity with remarkable technical skill.

In the fashion film category, Carla Àvila won the Isabel Coixet Award for “Intimacy as performance”, a work that, in Coixet's words, was made with the aim of telling "something very rich and profound about life and intimacy". You can watch the video by clicking here

Carmen Celedonio won the Manuel Outumuro Award for Best Shooting with “Rigor Mortis”, a womenswear proposal for autumn/winter featuring sculptural silhouettes and organic materials.

In illustration, the winner was Natalia Tselousova, who received the Jordi Labanda Award for “Liminal”, a collection based on the experience of sleep paralysis. Labanda highlighted the author's anatomical talent, even comparing her to 80s references like Antonio López.

For the third consecutive year, the IEDxCommons Impact Award was also presented. This award is dedicated to sustainability, the use of technology, heritage value and inclusion. The award, presented by stylists Fermin+Gilles and Clara Mallart, a fashion sustainability researcher and IED alumni, went to Simran Niraj Madlani for “Taste in Art”. According to the jury, the collection "has worked the ethics and sustainability both from a point of view material as social".

The Spanish region of Castilla y León is continuing efforts to strengthen its textile and fashion industry through the third year of its "Uniendo Moda Castilla y León" initiative, a program designed to support business growth, talent development, and industry visibility.

According to project organisers, the region's textile and fashion sector generates more than 185 million Euros in annual turnover, supports over 2,200 jobs, and includes nearly 500 companies. The industry represents around 5 percent of Castilla y León’s industrial base.

Funded by the Regional Ministry of Industry, Trade and Employment and managed by CEOE Castilla y León, the initiative focuses on promotion, commercial development, training, digitalisation, and entrepreneurship. The programme aims to help both established businesses and emerging designers adapt to changing market demands.

For fashion students and educators, the project includes a range of professional development opportunities. Planned activities include entrepreneurship workshops, mentoring sessions, and masterclasses covering topics such as artificial intelligence in design, branding, marketing, and communication. Organisers will also create a business directory and a resource guide focused on innovation, sustainability, digital transformation, and internationalisation.

The initiative is increasing the sector’s visibility through participation in major industry events, including Mercedes-Benz Fashion Week Madrid, MOMAD, Atelier Couture, Pasarela Larios in Málaga, and the Castilla y León Fashion Week. A showroom in Madrid will also showcase regional designers to media, stylists, influencers, and industry professionals.

Project organisers say the programme is intended to strengthen connections between institutions, businesses, designers, and educational stakeholders while supporting the long-term competitiveness of the region’s fashion industry.

As the fashion and luxury industries face a growing shortage of skilled artisans, Italian fashion schools are increasingly positioning craftsmanship at the centre of their educational programmes.

A recent analysis by nss magazine highlights how institutions including Accademia Costume & Moda, NABA and IUAD are combining traditional techniques such as moulage, draping, weaving and textile manipulation with emerging digital technologies to prepare students for the future of fashion.

The discussion comes amid industry forecasts that Italy's fashion and luxury sector will require tens of thousands of additional skilled manufacturing professionals over the coming years. Educators interviewed by nss magazine argued that a deep understanding of materials, construction and craftsmanship remains essential despite advances in digital design tools.

At Accademia Costume & Moda, students work directly with textiles through hands-on experimentation and material research, while NABA's practice-based approach encourages exploration of textile innovation, including bioplastics and circular design projects. IUAD, meanwhile, emphasises the importance of balancing traditional pattern cutting and draping skills with digital modelling and 3D prototyping.

The article also notes the growing number of training academies established by luxury companies such as Bottega Veneta, Prada Group and Kering. Rather than viewing these initiatives as competition, fashion schools increasingly see them as complementary, with universities focusing on broader creative and intellectual development while brand academies provide specialised technical training.

According to the educators interviewed, the challenge facing fashion education is not only preserving traditional skills but ensuring that craftsmanship remains relevant and attractive to younger generations. As sustainability, quality and product longevity become increasingly important within the industry, schools argue that craftsmanship is no longer simply a heritage practice but a critical component of fashion's future.

A student- and alumni-led initiative at London College of Fashion is highlighting the role fashion education can play in building community, cultural exchange, and long-term professional networks among international students.

“Re-Seed Asia: The Future of East Asian Fashion & Cultural Exchange” will take place on 23 June at University of the Arts London’s East Bank campus in Stratford, London. Led by Dr. Min-Ji Seo, the project has received support from the Great Britain Sasakawa Foundation and the Overseas Koreans Agency. Event details are available via the exhibition page.

The initiative began as a platform for Korean students studying in London and has expanded into its fourth exhibition, bringing together current students and alumni alongside participants from Bunka Gakuen University in Japan and Fu Jen Catholic University in Taiwan.

Organisers say the project focuses on creating peer support networks, strengthening cultural confidence, and encouraging collaboration beyond graduation. The exhibition also reflects a growing interest among fashion schools in developing communities that support both academic and professional development.

According to organisers, previous participants have gone on to careers in fashion companies, launched their own businesses, and contributed to projects ranging from costume design for KATSEYE to award-winning fashion collections. Alumni achievements have included recognition at major design competitions in South Korea.

This year’s event is expected to attract representatives from diplomatic missions, universities, and the fashion sector, offering educators and students an opportunity to examine how international collaboration and alumni engagement can contribute to career development and cross-cultural learning within fashion education.

Buenos Aires – Landing a dream job in fashion no longer depends solely on an interest in the industry or a strong résumé. For Luis Lara Arias, an international consultant specializing in retail and strategy, companies today are looking for far more prepared profiles, with real industry knowledge and the ability to understand how the business works from the inside.

With a career that includes companies such as Marks & Spencer, The Walt Disney Company, Inditex and Pronovias, Lara Arias has spent years observing how recruitment processes have evolved and which skills have become essential for entering the sector. “When I started, it wasn’t so difficult to work in fashion,” he explains, adding: “Companies were looking for more generalist profiles. Today, my feeling is that specialized training is needed and many companies value previous experience working in stores.”

This article is part of “The Do’s and Don’ts,” an editorial series by FashionUnited that brings together insights from industry professionals to analyze, from a practical perspective, the most common successes and mistakes in key fashion business decisions.

An increasingly competitive sector

According to Lara Arias, one of the main changes in recent years has been the professionalization of industry. Fashion is no longer a space where simply “having an interest” is enough; it has become an industry that requires specific preparation. “Today many companies ask for some kind of specialized training,” he notes.

From his role as associate professor at fashion business school ISEM, Lara Arias says that many companies use these academic spaces as direct recruitment channels. “Major brands come to these schools to conduct interviews. It’s a gateway into the industry,” he explains.

But beyond education, he insists on another key point: understanding how business works.

The importance of starting from the store

Although many candidates aspire to corporate or strategic positions, Lara Arias believes that the point of sale remains one of the best places to learn how a fashion company operates. “You need to want to stay close to the market and truly understand what the customer thinks,” he says. “And that happens by working in stores.”

Far from seeing retail as a lesser step, he argues that in-store experience allows professionals to understand fundamental aspects of the business, from consumer behavior to product flow and communication with headquarters.

“I always say that the key to success is not only big data, but also small data,” he explains. “All the information you gather by observing a customer in the fitting room or seeing which garments they decide to buy is extremely valuable.”

The Do’s

“In companies like Inditex, the store determines everything that happens at headquarters,” he explains.

The Don’ts

“There are people who want to work in fashion and have no idea what’s happening in the sector,” he warns.

“In companies like Inditex, the bottom is the top,” he summarizes.

Companies also evaluate potential, curiosity and a candidate’s ability to think critically.

What should candidates keep in mind?

For Lara Arias, entering the fashion industry requires combining education, experience and observation skills.

Beyond an interest in brands or trends, he believes it is essential to understand how the industry operates in depth, from customer relationships to the commercial dynamics of stores.

He also highlights the growing importance of personal branding as a differentiating factor. “One of the first things a company does before hiring is look at your LinkedIn profile,” he explains. “If there is valuable content there, that person gains points.”

Another key aspect is developing patience and a long-term vision. According to Lara, the first job may not necessarily be a dream brand, but it can become a platform for learning and growth.

Real cases

Throughout his professional career, Lara Arias has observed how major fashion companies develop talent from junior profiles to leadership positions. According to him, many people who now hold strategic roles in the industry began their careers in stores or through specialized training programs.

From his experience as both an executive and professor, he believes companies particularly value people who understand business from a holistic perspective and demonstrate a constant willingness to learn. He also highlights that specialized business schools increasingly function as direct connection points between students and international companies, facilitating access to career opportunities within the industry.

Key takeaway

Entering the fashion industry today requires much more than aesthetic affinity or an interest in trends.

In summary: Companies are looking for profiles with curiosity, business knowledge and the ability to build a long-term career.

Luis Lara Arias’ final reflection sums up his vision on how to begin in the industry: “You need curiosity, the willingness to work hard and the humility to start from the bottom. Because in fashion, many times, the bottom is actually the top.”

A new academic review published in Frontiers in Sustainable Resource Management argues that transforming fashion and textile waste into valuable resources will require closer collaboration between education, communities, and small and medium-sized enterprises (SMEs).

Authored by researchers from the United Nations University’s Institute for the Advanced Study of Sustainability in Tokyo, the study examines how circular economy principles can be advanced through sustainability education, community-led initiatives, and business innovation. The authors contend that technical recycling solutions alone are insufficient to address the fashion industry's environmental challenges, which include significant waste generation, greenhouse gas emissions, water pollution, and microplastic contamination.

The review highlights Education for Sustainable Development (ESD) as a key driver of change, helping learners develop the knowledge, values, and practical skills needed to support circular fashion systems. The researchers point to examples where hands-on learning, upcycling projects, and real-world problem-solving activities have encouraged more sustainable behaviours among students and consumers.

Community initiatives are also identified as important platforms for circularity. Examples cited in the study include school uniform reuse programmes in Australia and clothing swap events in the UK, which have helped reduce textile waste while encouraging long-term changes in consumer behaviour.

For educators, the study underscores the growing importance of embedding circular economy concepts into fashion and textile curricula. The authors suggest that combining classroom learning with community engagement and industry collaboration can help prepare students for emerging sustainability challenges and opportunities within the sector.

The review also notes that SMEs play a critical role in implementing circular practices, although many face barriers including limited financial resources, technology access, and infrastructure support. Greater collaboration between educational institutions, businesses, and local communities is identified as a potential pathway for accelerating industry-wide change.

Published on 7 May 2026, the study calls for further research into integrated approaches that connect education, community action, and business innovation, particularly in underrepresented regions such as Africa and Latin America. According to the authors, such collaboration could help advance a more circular and resource-efficient future for the global fashion and textile industry.

Graduates from the Royal Academy of Fine Arts Antwerp presented their Fall 2026 collections during the Antwerp Fashion Festival, reaffirming the institution's reputation as one of the world's most influential fashion schools. The showcase brought together 16 bachelor's and master's collections that explored themes ranging from identity and heritage to gender, spirituality, architecture, and memory.

Rather than focusing on commercial trends, the collections demonstrated the academy's longstanding commitment to nurturing distinctive creative voices. Each designer approached fashion through a highly personal lens, reflecting the school's emphasis on research, experimentation, and conceptual development.

Founded in 1663, the Royal Academy of Fine Arts Antwerp has produced some of fashion's most celebrated designers, including Martin Margiela, Dries Van Noten, Ann Demeulemeester, Haider Ackermann, and members of the Antwerp Six. The institution continues to play a significant role in shaping contemporary fashion by encouraging students to develop original perspectives and challenge conventional approaches to design.

Among the graduates featured this year was Bartosz Borowski, whose collection drew inspiration from the work of painter Lucian Freud, translating themes of observation and human vulnerability into fashion. Yvonne Schichtel explored resilience and ancient matriarchal cultures through layered silhouettes and intricate detailing, while Vincent Körber examined the rich cultural history of Palermo through a collection rooted in storytelling and place.

Other notable projects included Carla Lázaro Bonet's exploration of female lineage and inherited strength, as well as Conor Turley's colourful and theatrical menswear designs, which challenged traditional notions of masculinity. Together, the collections highlighted the diversity of ideas and approaches emerging from the next generation of fashion talent.

Industry professionals serving on the judging panel, including Olivier Theyskens, Francesco Risso, and Saul Nash, praised the students for their originality and commitment to developing individual design identities. The judges noted the depth of research and strong conceptual foundations evident throughout the collections.

The presentation once again underscored Antwerp's position as a global centre for fashion education. At a time when many institutions face growing pressure to prioritise commercial outcomes, the Royal Academy of Fine Arts Antwerp continues to champion creativity, experimentation, and artistic integrity—qualities that have defined its graduates for decades and continue to influence the wider fashion industry.

How Vogue College of Fashion is equipping the next generation with the human skills that matter most in a rapidly changing creative landscape. A shift is underway across the fashion industry, and it is not simply a matter of new tools arriving on the scene.

Artificial intelligence is reshaping the fashion industry from the inside out, accelerating content creation, streamlining workflows and already displacing many of the entry-level roles that emerging professionals have long relied on to begin their careers.

The question for educators is how to prepare students to lead rather than simply adapt. At Vogue College of Fashion, the answer lies in equipping students with the judgment, perspective and creative confidence that endure, regardless of how these tools evolve.

Human Expertise in a Changing Landscape

What the College’s MA programs are ultimately building is the ability to think independently in open-ended situations, a strong sense of visual and cultural awareness and the confidence to form and defend informed opinions — qualities that AI cannot generate.

For example, The MA Fashion & Beauty Communication program is designed to develop not just skilled practitioners, but genuinely independent creative thinkers. Students work on live briefs in collaboration with BAGEL Magazine, responding to real editorial and brand communication challenges that require them to bring their own cultural and visual intelligence to every decision.

Digital tools can support research, content generation and early-stage exploration, but the emphasis of teaching, as Anna Nilsson, MA Fashion Beauty & Communications Program Leader, makes clear, is on how those inputs are shaped into communication that is meaningful, relevant and distinct.

In fashion and beauty, success has always depended on the ability to align creative direction with brand identity, audience expectations and cultural context, and that alignment comes down to human judgment.

Industry Insight and the Value of Human Creativity

The wider industry echoes this sentiment. Earlier this year, Vogue College students visited New York, spending time at Vogue, Condé Nast, Hearst, Baron & Baron and Oscar de la Renta.

Zoe Souter, Head of Careers & Stakeholder Engagement, accompanied the group and reflects: “There was a consistent message, that while AI is rapidly transforming industries through efficiency and data-driven decision-making, it is no replacement for human creativity, leveraging meaningful human relationships and network building. It is human creativity that refines those possibilities created by AI, into meaningful, original and impactful outcomes.”

A Vogue College Careers Services survey* of industry partners reinforced the point. Administrative tasks, basic image editing and process-driven work, functions that have historically formed the backbone of early career roles, are among those most likely to be automated. By 2028, 70% of respondents said AI proficiency would be essential at the point of hire.

Asked what would make a graduate immediately employable, the answer that kept surfacing was direct: “Creative human skills combined with AI will make all the difference.”

Explore graduate programs at Vogue College of Fashion

Interview

Brandon Wen succeeded the legendary Walter Van Beirendonck as the first non-Belgian and youngest head of department in the history of the Antwerp Fashion Academy. This year, the students he started with are graduating. FashionUnited speaks to him in Antwerp about his first cohort and the creation of his own debut collection.

Wen has no time for an interview when we join him at a cast-iron table in the sun in early June during the Antwerp Fashion Festival. The show for his first master's students at the Royal Academy of Fine Arts (KASK) is tomorrow. He is surrounded by buyers who want to see his debut collection, which he is presenting as part of the festival. After all, he graduated from the Academy with flying colours himself in 2019.

“I believe in you”

He speaks about his graduating class with a mix of hope, anxiety and emotion. “I have only known the school with them in it. It will be strange not to see them here anymore.” Now, it is a waiting game to see what happens to them. “As a teacher, you have so many expectations of a student. It is not in a bad way, but more like: I believe in you, so I want the work to be good. It is not about what I want it to be. They have to figure out for themselves what they need for their careers right now. That is difficult when you are so attached to them.”

Predecessor Walter Van Beirendonck left a clear mark on the programme: conceptual freedom, extreme creative expression and character. What about Wen? “I have been told there is a clearer focus on material. I love textiles. I love manipulation. You do not explicitly change the courses, but such a preference seeps through when you ask questions: Have you done any manipulations yet? Show me something. This is beautiful, but try something new.”

Freaks

“I am not a micromanager. If you are good, you should just do it your way. We are all free at the academy. You can feel that from the teachers and the way they teach.” Wen is happy with the building blocks already in the programme. Year two is the toughest. You learn to make neat jackets, work in layers and build collections: the so-called collection arc. “If you do not master that, you cannot enter the profession.” In year three, the students are allowed to let loose. “That is where they all become freaks. And that is a good thing.”

Among the master's students are names to watch. Some are so incredibly talented—Wen will not reveal who—they are actually too good to be doing minor tasks in the back of a prestigious studio. “I love this generation. They work incredibly hard. Their characters are super intense, and therefore interesting. I am terrified of what will happen to them next. Will they get a nice job, a bit corporate, a bit crazy? For some, I think: nowhere is good enough for you. You hope they end up in a good place, somewhere their fire will not be extinguished.”

During the Antwerp fashion festival from June four to seven, Van Beirendonck spoke nostalgically about his time at the Academy in the show notes. It made him a different person. Wen experienced the same and wants his students to have the same memories. “Surrounding yourself with free, creative, hardworking people—that has always been the school's motto. And I am a product of it myself.”

Royal Academy of Fine Arts: Masters 2026

On June five and six, 16 master's students graduated with a fashion collection from the Antwerp Academy (KASK). Lars Mertens, Stan Peeters, Tristan Stieners and Yvonne Schichtel received rave reviews. Their names were buzzing through the white halls of the academy on Saturday when the exhibition was open to family and press, with serious judging taking place in between. The doors would then close for a while.

Mertens' looks are characterised by an interplay of lines and bold material experiments—fulfilling Wen's heartfelt wish. He presents sculptural silhouettes embellished with wooden decorations, which immediately reveals his background in architecture. At KASK, he learned to be independent and to deliver a complete concept. He even designed a perfume with a designer bottle. He feels comfortable among so much talent. “There is strict filtering at the front door; that is how the Academy maintains its quality.”

Schichtel's work, with its lightness and layers of tulle and organza, refers to a soft form of femininity and 'goddess shapes'. KASK felt like a warm bubble. “It is such a luxury to selfishly focus only on your own work for four years. Now I am going back into the world.” She hopes for a position at Chanel and a work visa as soon as possible.

For Stieners, the work atmosphere will be most important. His layered collection, made of richly textured fabrics, is being compared to that of Dries van Noten—which is what he was hoping for. They were allowed to visit with the Academy. “The studio had a very familial atmosphere, which I would like, so you are not swallowed up by a huge team.”

All things equal

Antwerp had not seen a major fashion celebration since 2009. Wen seized the momentum by also showing his own work at the Antwerp Fashion Festival. His debut collection, 'All Things Equal', was presented with an art installation at the five-star hotel Botanic Sanctuary. It includes three couture pieces and a ready-to-wear line. “It has a philosophical slant,” says intern Guste Maroscikaite. She is there all day, helped with production and can explain the meaning behind it. “Brandon experimented with flatness—how far can you 'push' a square, two-dimensional piece of fabric before it becomes a garment.” Inspirations included the Japanese animation studio Ghibli and the art of ikebana flower arranging. Wen created variations on the hat: ikebanas.

The three couture pieces form the heart of the collection. “I dare not guess how many hours of work went into them,” says Maroscikaite, who did a significant part of it herself. She describes the most spectacular piece as cosmic shorts with a sculptural top in organza and raffia. The headpiece is inspired by a character from a video game from Wen's childhood. The third piece in the gallery, featuring white and blue flowers, a baby pink skirt and emerald green ruffles, made the biggest impression on the audience.

The text continues below the images

Select group

The ready-to-wear line was available for pre-order at the festival. It featured mostly angular silhouettes that fit various body types, airy cotton tops and kimono-style jackets, as well as wide trousers with a sharp cut. For now, Wen is deliberately keeping it to a select group of buyers because he wants to keep the line between himself and the customer as short as possible. “First, I want to discover who the people are that like my clothes, who wants to wear and buy them.”

If it had not been for the festival, he probably would not have presented his debut so publicly. “I already did a private preview at my home and left it hanging for two weeks so people could come back. We chatted, they tried things on. I sold quite well that way. Now I know there is something to build on.” He has his doubts about the conventional sales path of 'the more, the better'. “It is so difficult as a young brand to be in many shops and pay for the entire production upfront. You do not know what will come back in sales. In that sense, it never really becomes a commercial success, even if you are on the racks everywhere.”

Paint splatters

On the wall of the installation, surrounding the clothes, hang large sheets of paper with paint splatters and strokes—intuitive, direct expressions from Wen. “I was in a creative block after I had already done a lot of the more ready-to-wear pieces. So I thought, let's physically change the environment so I can mentally enter a different space. I hung up large sheets, put pots of paint on the floor, and had Björk playing very loudly. I stood there screaming at the paintings. It only seemed fair to show everything here because it is all part of the process.”

A little naïve

His process goes in all directions. “I make grateful use of my ADHD. I work fine at two in the morning. I have easy sessions and then a very bad one; I do a lot of flower arranging, take a photo or paint, I sketch a lot.”

Wen makes headpieces and decorations with bent cane and raffia in cheerful colours, supplied by the vendor—he calls it “disco raffia” himself. He shaped them into sculptural forms in his own bathtub: you wet it, apply pressure to the material, and it dries that way. “The shapes follow the line movements in my (clothing) designs and those of my brushstrokes. Plus: I love the coarse, outdoor feel of raffia.”

These materials and the high-quality fabrics come from suppliers Wen has personally visited: parties from Belgium, who find his position at the Academy interesting, and Spain, part of his roots. He finds those connections important. “I love the story of Made in Belgium, Made in Spain; it is where I am now and where I come from. It just feels right. I understand why many designers move production elsewhere, but I allow myself to be a little naïve.”

MA International Luxury Business graduate Karina VanDenEeden shares how navigating business, culture and technology shaped her path to a Consumer Revenue Associate role at Vogue Business.

What made you choose Vogue College of Fashion for your studies?

I chose Vogue College of Fashion because I wanted to study luxury within an institution that was directly connected to the industry — not just academically but culturally. Vogue represents authority, evolution and influence within fashion, and I wanted to be in an environment that challenged me to think at that level.

The MA International Luxury Business program felt future-focused. It wasn’t just about heritage brands — it was about how luxury is shifting through technology, community and changing consumer values. That felt aligned with how I see the industry evolving.

What were the most valuable skills you gained during the MA International Luxury Business program?

The program shifted my mindset from looking at brands in isolation to understanding the cross-dynamics between consumer behavior, business strategy, cultural relevance and global markets. It helped me see the bigger picture — and how every decision within luxury is connected.

Can you describe a project or collaboration that had a significant impact on your learning experience?

My final master’s project had the greatest impact on me. I explored how legacy fashion media can remain culturally relevant in a digitally native world, which led me to develop “Vogue Vault,” an AI-powered digital styling platform concept.

That project pushed me to combine theory, consumer research and practical brand strategy. It required me to think not just creatively but commercially and technologically. It also deepened my interest in how fashion media can evolve rather than compete with social platforms.

In many ways, it shaped the lens through which I now look at the industry.

How did the faculty and industry professionals influence your career path?

The faculty brought both academic depth and real-world experience, which created a balance I found incredibly valuable. They didn’t just teach theory — they challenged us to apply it critically.

Guest speakers and industry professionals helped demystify the industry. Hearing directly from people navigating luxury businesses made the career path feel tangible. It reinforced the importance of adaptability, curiosity and strategic awareness.

Being invited to work with Vogue Business soon after graduating is a significant milestone. Which skills, perspectives, or areas of focus developed during your time at Vogue College of Fashion do you feel contributed most to this opportunity?

One of the most important things I developed during my time at Vogue College of Fashion was confidence — not just in my abilities but in my perspective. The program challenged me to think critically and sit comfortably in the gray areas of the industry where business, culture and creativity intersect. That ability to analyze beyond black‑and‑white narratives became incredibly valuable.

I also learned the importance of self‑advocacy. I was very clear about the kind of future I wanted, and while I knew my dream role was possible, the real question was how to position myself for it. I made a conscious effort to show up consistently, offer support where it was needed and put myself forward for opportunities — even when it felt intimidating.

Persistence was key. I didn’t wait for the perfect moment; I created visibility through action. That combination of strategic thinking, confidence in my voice and willingness to keep putting myself forward ultimately contributed to the opportunity to join Vogue Business.

As you transition from postgraduate study into working with a global fashion intelligence platform, what has surprised you most about the realities of the industry so far?

What has surprised me most is the pace. The industry moves incredibly fast — culturally, digitally and commercially.

At the same time, I’ve realized how much strategy sits behind what looks effortless on the surface. Every partnership, every editorial decision and every commercial move is deeply intentional.

It’s made me appreciate even more how important it is to stay informed and adaptable.

What advice would you offer to emerging fashion and luxury professionals seeking to distinguish themselves and create meaningful opportunities in an increasingly competitive landscape?

The industry is saturated with aesthetics but strategic thinking and industry literacy set you apart. Understand business models. Follow consumer behavior. Stay curious about everything!

At the same time, build your personal perspective. People are drawn to clarity of vision. If you understand what you stand for and where you want to contribute, opportunities begin to align more intentionally.

What advice would you give to current Vogue College of Fashion students?

You are studying within a network that sits at the heart of the fashion conversation. Ask questions. Build relationships. Push your ideas further than what feels comfortable.

And don’t underestimate how much your time there can shape your confidence. The industry can feel intimidating but you belong in the room just as much as anyone else.

Explore Vogue College of Fashion

Graduating designers from ArtEZ University of the Arts are presenting collections that examine themes of identity, memory, transformation, spirituality, and self-expression, reflecting the increasingly conceptual direction of contemporary fashion education.

The 2026 cohort brings together emerging designers from across Europe, with collections drawing on personal histories, cultural heritage, mythology, and social experience. Several projects use fashion as a medium for storytelling, moving beyond traditional garment design to explore broader emotional and philosophical themes.

Among the designers is Dutch graduate Casper Naafs, whose collection SuperMen, SwagKnights, Young Boy Prince traces the evolution of personal style from childhood to adulthood through an eclectic mix of references ranging from luxury fashion and carnival dress to everyday clothing and self-made garments.

Cypriot designer Stasha Pigkou's collection The Great Escape explores transformation through the myth of Icarus, using asymmetrical forms and layered constructions to examine vulnerability, ambition, and the desire for renewal.

Several collections engage directly with personal and cultural memory. Ukrainian designer Sofiia Popil's Intermezzo reflects on the emotional impact of war and the role of hope as a coping mechanism, incorporating references to traditional Hutsul craftsmanship and material culture. Meanwhile, Julia Verberne's Memoria Blanca draws on memories of Nicaragua and her grandmother's wedding dress, exploring longing, displacement, and the fragility of remembrance through repeated pattern-making and reconstruction.

Other designers focus on personal transformation and spirituality. Dutch designer Luus van Steenbergen's Sacred Surface investigates the relationship between glamour and faith, using repetitive handcraft techniques as a form of ritual and reflection. Belgian designer Zaïna Timmermans' Adaptation centres on self-love and personal growth through colourful floral-inspired silhouettes and textiles.

Themes of childhood, imagination, and becoming are explored in Lizzy Isabel Voeten's Eclosion, a collection inspired by personal photographs, butterflies, and migration, while Polish designer Józefina Wojtkiewicz examines stillness, surrealism, and decontextualisation in One and Three Blank.

Slovenian designer Nina Železnik's SFINGA. approaches fashion through sculptural construction techniques inspired by concrete, architecture, and inherited traditions of making and repair. Her work investigates the boundary between garment and sculpture through hand-painted, engraved, and manipulated textiles.

Together, the collections highlight a generation of emerging designers increasingly concerned with narrative, material experimentation, and personal expression, demonstrating how fashion education continues to evolve beyond commercial trends toward broader cultural and artistic inquiry.

Bilbao International Art & Fashion 2026 has announced the finalists for its tenth edition, bringing together 30 emerging designers from some of the world's leading fashion schools following a selection process that reviewed nearly 2,000 applications from more than 90 countries.

The final will take place in Bilbao this June and will feature designers educated at institutions including Central Saint Martins, Parsons School of Design, and Royal Academy of Fine Arts Antwerp. Organisers said the finalists reflect the growing influence of fashion education in shaping the next generation of creative talent.

According to BIAAF, this year's entries demonstrated a strong focus on conceptual development, experimentation, sustainability, and the relationship between fashion, art, and social discourse. The selected projects were noted for prioritising research, identity, and material innovation over commercial trends.

Charo Álvarez, project director of BIAAF, said the jury placed particular emphasis on creativity and conceptual strength, seeking designers capable of building distinctive creative worlds supported by rigorous research.

Beyond the competition itself, BIAAF continues to position itself as a bridge between education and industry. Winners in both the Fashion Design and Accessories Design categories will receive €10,000, alongside access to international networks, mentoring opportunities, and industry connections designed to support the transition from education to professional practice.

Founded to promote emerging talent, BIAAF has become an internationally recognised platform for young designers, with a growing reputation for identifying innovative voices at the intersection of fashion, sustainability, and contemporary culture.

Christian Dior Couture and Institut Français de la Mode have launched a new training initiative designed to strengthen sustainability knowledge across Dior's global workforce.

Announced in Paris on 21 May, the Sustainability Fashion Leadership Programme aims to equip employees across all departments with a deeper understanding of the environmental and social challenges facing the fashion and luxury industries. The initiative forms part of Dior’s broader sustainability strategy, Dream in Green, and aligns with LVMH’s LIFE 360 programme.

The programme will provide sustainability-focused educational content and conferences to Dior employees worldwide, while a selected cohort of 23 employees from more than 15 departments will participate in a one-year certified training course developed jointly by Dior and IFM. Participants represent areas including logistics, design, merchandising, digital, finance, legal, compliance, and supply chain management.

Structured around four modules totalling 80 hours of training, the curriculum covers topics such as responsible sourcing, traceability, biodiversity, circularity, climate challenges, eco-design, sustainability regulations, and sustainable performance. The programme concludes with coaching sessions focused on developing practical sustainability projects within the company.

Dior said the initiative reflects its ambition to integrate sustainability more deeply into its operations, craftsmanship, and long-term business strategy. The partnership also highlights a growing trend within the luxury sector, where brands are increasingly investing in internal education programmes to help employees navigate evolving environmental regulations and sustainability expectations.

According to Dior and IFM, the programme is intended to help develop a new generation of professionals capable of driving sustainable transformation across the fashion and luxury industries.

Lovely Professional University is promoting its School of Fashion Design as a hub for industry-focused fashion education, combining creative training with emerging technologies, sustainability, and strong employment outcomes.

According to the university, the school offers undergraduate and postgraduate programmes in fashion design, apparel production, and fashion management, with students trained in areas including digital textile design, virtual sampling, 3D design tools, CAD, and AI-assisted trend forecasting. The curriculum is supported by specialised facilities such as garment construction, pattern-making, textile testing, and digital design laboratories.

The institution reported a highest placement package of ₹18 lakh per annum, with graduates securing roles at companies including Nike, Puma, Tommy Hilfiger, Trident Limited, Reliance Industries, Arvind Limited, and Shoppers Stop. More than 70 recruiters are said to hire from the programme.

The school places a strong emphasis on practical learning through internships, live industry projects, design competitions, and collaborations with organisations including Lakmé Fashion Week and the Fashion Design Council of India. Students also participate in international exchanges through partnerships with more than 500 universities worldwide.

Research and innovation remain key priorities, with the university highlighting a ₹6 crore grant from India's Ministry of Textiles under the National Technical Textile Mission. Areas of research include sustainable textiles, wearable technology, inclusive fashion, and environmentally conscious design practices.

As fashion education increasingly evolves to meet industry demand for digital skills and sustainability expertise, LPU says its approach is designed to equip students with both creative and commercial knowledge while preparing them for careers across design, merchandising, communication, retail, and entrepreneurship.

Interview

Sanne Schepers has fond memories of the ArtEZ University of the Arts in Arnhem, the Netherlands. These memories made her think long and hard before applying for the head of department position. "Do I dare take on a new role? Am I going to take that step to bring about a change in my relationship with the department?" she explains. Now, with her first academic year nearly complete, the graduation show for the new class is just around the corner. FashionUnited meets her in Arnhem.

Even before the interview begins, Schepers gives a tour of the ArtEZ fashion department. “We emphasise craftsmanship and a complete understanding of the garment-making process.” We walk into an illustration class and also a class on fabric design. “You can already see a lot of personality in the students' work in every year of study.” For instance, one table is covered in black and white, while another features a combination of pink, orange and blue. “You can see which bubble they are in even in the first year,” Schepers smiles.

The new graduating class at ArtEZ is no stranger to the new head of department. She has been teaching at the academy for several years, so she has had this class in their first, second, third and fourth years of study. “It's as if it was meant to be that this is my first graduating class." In the studio, the students, or perhaps we should say designers, are hard at work. Focused, they each sit at their own workstation. Here too, each designer's individual style is clearly visible. While one works more in black and white, another is very colourful, but there is an overarching theme. “This class is very focused on tactility.” This is a development that can also be seen in the global fashion industry.

Although the graduation show is certainly a peak moment that the students and the academy work towards, it is not over after that. “There are a few more weeks of classes afterwards, and for the graduates, it's time to take the step into the industry.”

With the academic year coming to a close, it is also time for a little reflection. How can the first year be summarised? “Versatile,” says Schepers after a moment of thought. “I have so many new tasks. Whereas I used to be at the forefront as a teacher in the classroom with my hands in the clay, I now also see the back end and business operations. I am much more involved in the layers of the institution and also where the fashion department stands internationally. I get to be more involved in that now, and I really enjoy it. Where do we want to go and what is needed to get there?”

From rowing boat to oil tanker

Before starting her role as head of department, Schepers thought long and hard. She knew that managing her own brand, Schepers Bosman, would be very different from managing a fashion department. “I come from a small design company where we run everything ourselves. If we make a decision, the email is sent tomorrow and everything is set in motion. Now I am in a large organisation with many more departments. That also means more support, but it is an oil tanker and I was in a rowing boat before. I had expected this and I take it into account, but it is still new to me.”

She was also aware that she would be the successor to Matthijs Boelee, who was associated with the academy for over 20 years. “I feel I have taken over the baton well - that the relay race has simply continued. I don't want to say it is easy, but it has been better than I expected. You never know one hundred percent what is coming your way and how you will react to the position beforehand. You jump in at the deep end, but if I may say so myself, the baton has been firmly passed on.”

I am focusing on the craftsmanship of the designs and showing that on social media and in our communications.

One element that helps is that Schepers and Boelee are on the same page when it comes to their view of the fashion profession. “We are completely aligned regarding craftsmanship, construction and the tactile aspects of fashion design. I wanted to continue that in my own way. The core of the academy remains incredibly solid in that sense.” However, Schepers says, a breath of fresh air will blow through. “I have a different view and am from a different generation. I have a different network and a different perspective within that viewpoint.”

Schepers indicates that she wants to be more public about what happens at ArtEZ. “I am focusing on the craftsmanship of the designs and showing that on social media and in our communications. What is the work behind the collections?” She indicates that it is not just about technical skills, but also about the theoretical foundation. “For years, we have been seen as the course where beautiful garments are made, and that is of course the case, but it is also preceded by research, substantiation and a thesis. That is the foundation for the final exam.” She wants to show more and more of that background.

For the final exams, a magazine is also created that uses not only images of the final designs, but also of the studio. “The work-in-progress part. Personally, I find that the most interesting aspect of the profession.” The images are accompanied by texts that delve deeper into the motivation behind the collection.

“I see things here that make me think, ‘show this! This is unique!’ Our students know how to draw patterns; they can drape. They touch everything within the design, from the first fibres of the fabrics to the prints. The designer we train is incredibly aware of all phases of the design process. When they enter the professional world, they have an awareness of how everything is created and who is needed for it.”

Changing industry and ArtEZ's place

“The fashion industry is now more diverse and accessible than when I was a student. Designers now have their own channel via social media. We did not have that. On the other hand, there is of course also the influence of social media on the designer. We first started using Facebook when I was here. So now there is more of a view from the inside out and from the outside in.” Schepers indicates that she sees it as her task to protect ArtEZ as a playground where designers can experiment freely without too much outside influence. “That they feel safe here to still play, challenge themselves and make mistakes.”

Students are more aware of finances, but also of the responsibility they have within the industry.

Another fundamental difference between the current generation and Schepers' own is the awareness of the back end of the fashion industry. “They are very realistic. They are concerned with what is needed for a job or their own brand. We were perhaps a bit more driven by an ideal and less aware of practical limitations. Students now have a positive attitude and are more aware of finances, but also of the responsibility they have within the industry. How do you deal with materials, with your design and the people who make it?”

The focus is also no longer solely on becoming the next star designer. “What can you do and what is your strength? We have such a diversity of graduates. One has their own brand; another has a more theoretical practice; but there are also people who already work within a company. We also emphasise that it is very normal to have a side job when you start your own brand or practice. And that you can also be very happy doing that, having your own practice in that way.”

Being more outward-facing also has to do with the academy's positioning in the international arena. “I have my sights set half on the Netherlands and half abroad. We have an international group of students and many will also go on to work internationally or first pursue a master's degree.” ArtEZ is involved in various international collaborations, including with the Cristóbal Balenciaga Museoa. “We are the only Dutch academy within that international group of schools that works with the Balenciaga museum. It is my job to clarify and strengthen our international positioning.

Head of department and her own brand

With the hustle and bustle just before the final show, you would almost forget that Schepers also has her own fashion brand with partner Anne Bosman. That combination was an important condition for the head of department. “I want to keep one foot in the fashion industry so I can bring all my experiences to the classroom and prepare people for the professional world. I want that interaction.” In practice, Bosman has taken on more of the day-to-day management of the fashion brand, and Schepers works a bit harder during the quiet periods at the academy. “The combination also ensures that we have looked at the brand and really decided what we want. We only want to grow step by step. We are satisfied with our points of sale and our private clients.”

An interesting detail is that Bosman, like Schepers, teaches at ArtEZ. “He was teaching before I was.” Schepers still continues to teach even though she is now head of department. “I absolutely do not want to lose that. It ensures I can get out of my office, away from the computer and sit with the students. That I know what is going on, that I can guide and train them towards their final exams.” She indicates that you cannot manage an academy if you do not know what is happening in the classroom. “Perhaps you can manage it well from a distance, as a manager, but the content is also my responsibility. I cannot do that without being in the classroom.”

On Friday, June 5, is the grand finale for the ArtEZ class of 2026. A proud Schepers will be watching from the wings. Not just at the 'star designers' of tomorrow, but at a new generation of down-to-earth, conscious professionals who are ready for the real fashion world.

Emerging designer Ellie Brown is set to stage her first major runway event this summer, using adaptive fashion to challenge traditional ideas about accessibility and representation in the industry.

Brown, a recent graduate of Manchester Metropolitan University, founded adaptive fashion label Recondition in 2025 after experiencing firsthand the challenges of dressing while using a wheelchair following a serious ankle injury.

On 27 June, the young designer will present Disability Pride Catwalk: A Space for Each Other at Aviva Studios, featuring 16 disabled, neurodivergent and chronically ill models wearing adaptive garments developed through collaboration with people who have lived experience of disability.

The collection includes practical design features such as wheelchair-accessible pockets, ring-pull zips for people with reduced dexterity, and adaptable sleeves designed to accommodate prosthetic limbs and medical devices. New pieces debuting on the runway include a dress, jumpsuit, skirt and additional denim styles.

Brown works alongside a co-design group with varying disabilities to ensure the garments meet real-world needs while maintaining a contemporary aesthetic. The approach reflects a growing movement among emerging designers who are challenging fashion's traditional standards by placing inclusivity and accessibility at the centre of the design process.

The event comes as adaptive fashion gains greater visibility across the industry, although advocates argue that mainstream fashion still fails to adequately serve disabled consumers. Through her first large-scale catwalk presentation, Brown hopes to demonstrate that accessible fashion can be both functional and desirable, while encouraging broader conversations about representation and inclusion within the sector.

For a designer at the beginning of her career, the event marks a significant milestone and positions Brown among a new generation of fashion graduates using design as a tool for social change.

Kyinat Motla’s career spans fashion design, filmmaking, photography and education across three continents. As Program Leader of the MA Content Creation and Production at Vogue College of Fashion, she brings an interdisciplinary perspective to teaching, grounded in collaboration, curiosity and contemporary storytelling.

How did you begin your career in the industry, and were there any early moments that particularly stand out to you?

I hold a BFA in Fashion Design from Parsons The New School for Design. During my formative and very inspiring time in New York, I undertook several internships that gave me early exposure to different facets of the industry. Highlights include working in the fashion cupboard at Harper’s Bazaar, an accessories intern at WWD and a design intern at The Row.

After completing my BFA, I returned to Switzerland to pursue an MA in Filmmaking at École de Cinéma Genève. This shift into visual storytelling broadened my creative approach and continues to inform my work today.

Following my MA, I moved to Pakistan, where I worked as a freelance photographer for UNICEF and as a Media Consultant. I contributed to music videos, television series and talk shows focused on entertainment education, particularly around maternal and child health.

Alongside this, I founded my own fashion brand, producing traditional Pakistani womenswear and leading a small production team. We created garments that incorporated painting and hand embroidery, grounding the work in craftsmanship while engaging with contemporary design.

It was also during this time that I began my academic career, teaching at Iqra University. This eventually led me to the UK, where I spent 7 years as a Lecturer and Senior Lecturer at London College of Fashion, teaching on the BA Fashion Styling and Production program, before moving to Vogue College of Fashion, where I now serve as Program Leader for the MA Content Creation and Production.

What skills or perspectives did you develop in your career that continue to influence your work as a program leader at Vogue College?

One of the most important skills I have developed is the ability to communicate clearly and effectively. Fashion is inherently collaborative, so being able to articulate ideas while also listening and being adaptable is essential.

I also value patience and empathy in these environments, as creative work can be vulnerable, so your collaborators should feel supported to take risks and grow.

It is also integral to enjoy the process. To play, to try different things without focusing too much on the outcome. Curiosity and openness are key for staying inspired!

What excites you most about teaching the next generation of fashion and luxury professionals?

Their willingness to be bold and to challenge expectations. I am excited by students who want to disrupt, have fun and do something different. I find that there is a strong desire to tell contemporary stories that feel relevant to today’s audiences, often drawing from their own personal histories and cultural identities as a source of inspiration, which is wonderful.

What conversations or shifts in the worlds of fashion and luxury do you find compelling right now?

The rise of digital storytelling, immersive experiences and creator-led content is reshaping the industry and opening new forms of authorship.

There is also an important and ongoing conversation around identity, heritage and representation, particularly around who gets to tell stories and how those stories are shared.

If you could sit in on your own class as a student, what would you be most excited to explore?

I would be most excited by the interdisciplinary nature of the program, especially the opportunity to experiment across fashion, film, digital media and live or sensory experiences.

The ability to develop a concept and translate it across multiple platforms is something I would have really valued as a student, along with the freedom to tell stories that feel personal and relevant.

What emerging trends in visual production, digital platforms or creator culture do you find most influential today?

The democratization of content creation is one of the most influential shifts. Creators now have the tools to produce and distribute high-quality work independently, which continues to reshape traditional structures within fashion and media.

If your students took just one mindset from your classroom into their careers, what would you hope it would be?

A strong sense of curiosity and critical thinking. The ability to question, reflect and continuously evolve is far more valuable than any single technical skill.

Explore MA Programs at Vogue College of Fashion

Students from Southampton Solent University have secured 17 nominations across multiple categories at Graduate Fashion Week 2026, with 13 students shortlisted for awards recognising excellence in fashion design, styling, photography, marketing, media, and innovation.

The nominations were awarded by Graduate Fashion Foundation, which organises Graduate Fashion Week, one of the world's largest showcases of emerging fashion talent.

Emma Calder, course leader for Fashion, Fashion Photography, and Fashion Styling & Creative Direction at Solent University, said the achievement reflects the creativity, dedication, and collaborative spirit demonstrated by students throughout their studies.

The shortlisted students will participate in live judging sessions during Graduate Fashion Week, which takes place in London from 15–18 June. Finalists will also have access to networking events, industry talks, portfolio reviews, and recruitment opportunities with leading fashion employers.

Among those receiving multiple nominations are Kimi Nimaei, shortlisted for the Moving Image Award, Fashion Styling & Creative Direction Award, and Culture & Heritage Award; Emma Patel, nominated for both the Project Pitch Marketing Award and Fashion Innovation Award; and Tianey West, shortlisted for the Project Pitch Marketing Award and Inclusive Fashion Award.

Award winners will be announced during Graduate Fashion Week's evening receptions between 15 and 17 June. The nominations highlight Southampton Solent University's growing presence across fashion communication, media, marketing, styling, and creative direction disciplines as graduates prepare to enter the industry.

The British Fashion Council (BFC) has announced the winners of this year’s BFC Fashion Trust awards, with six designers selected to receive financial support and mentoring to help build their businesses.

For the 2026 edition, the winners are Clio Peppiatt, Conner Ives, Nicholas Daley, Paolo Carzana, Patrick McDowell and Tolu Coker. The news was confirmed by NSS Magazine.

The recipients were selected by a judging panel chaired by BFC board member and Tank CEO, Caroline Issa, alongside Joseph CEO, Barbara Campos; BFC Foundation co-chair, Narmina Marandi; and Kurt Geiger CEO, Neil Clifford, among others.

This year’s programme follows the launch of the council’s new strategy, ‘BFC 2030: Access, Creativity, Growth’, through which prizes and programmes for emerging talent have been refined and refocused towards delivering measurable outcomes, BFC’s chief executive officer, Laura Weir said.

The BFC Fashion Trust therefore remains “a vital part of that commitment, demonstrating the value of sustained, strategic support for British fashion businesses”, Weir added.

Since its inception in 2011, BFC Fashion Trust has backed 59 designer businesses through over three million pounds in funding, helping them to scale operations and build future-proof businesses.

Its presence has been amplified by the launch of the BFC’s new strategy, for which educational initiatives have been positioned as a cornerstone. Such a shift reflects the council’s intention to pivot efforts towards a formatting that promotes sustained, long-term growth for British designers.

Incubator organisation Fashion Trust US (FTUS) has extended its mentorship programme to London, where it hosted recent award winners over a three-day initiative designed to provide insight into building and scaling a luxury business.

Taking place from June 2 to 4, the programme was developed in partnership with Fashion Trust Arabia, the British Fashion Council, The Bicester Collection and Brand x Society. Designers participating included 2026 FTUS winners Zane Li of Lii; Andrea Marron; Josefína Baillères; Marcelle Barbosa of Amaramara; Maxwell Osborne and Kirsty Chen of an Only Child; and Deborah Won of Pisces Rising.

Participants were able to join workshops, panel discussions, and one-on-one mentoring sessions, exploring everything from investment strategies and wholesale to artificial intelligence and sustainability. Among the speakers and mentors were that of Good American co-founder Tugba Unkan; Emilia Wickstead; Elle UK editor-in-chief Kenya Hunt; and Anna Sweeting of The Equity Studio.

Speaking on the programme, founder of FTUS, Tania Fares, said: “One of the most valuable things we can offer designers is access to knowledge, expertise, and the people who can help shape their future. This programme creates opportunities for meaningful exchange while providing practical tools to help founders navigate the realities of building a business today.”

The London programme, which was celebrated with a cocktail event, coincided with the opening of applications for the fifth edition of the Fashion Trust US Awards, presented by Google. Eligible designers will be based in the US, and have either been in business for two to seven years or are recent graduates. The award ceremony will take place April 2027 in Los Angeles, with winners to receive financial grants and a year-long mentorship programme.

The annual fashion show of the Art Academy of Latvia drew a large audience to Hanzas Perons on 29 May, showcasing 26 collections that explored the intersection of identity, craftsmanship, technology, and sustainability.

Held for the 33rd time, the event featured work from undergraduate, graduate, and doctoral-level designers, reflecting the academy’s emphasis on conceptual fashion practice and contemporary design research. Organisers described the collections as offering diverse perspectives on fashion’s role in a rapidly changing cultural and technological landscape.

According to Agnese Narņicka, head of the academy’s Fashion Design Department, this year’s participants demonstrated how emerging designers are navigating the tension between tradition and innovation.

“The Fashion Show once again confirms that the new generation of designers consciously operates between tradition and change, formulating its own response to an era in which fashion is simultaneously criticized and constantly demanded,” Narņicka said.

The designers presenting collections included Aiva Strautmane, Ēriks Cariks, Edvards Ādams Valdzers and Akvelīna Frišmane, Rūta Strazdiņa, Lukass Gailis, Uģis Zauerhagens, Haralds Babris, Katrīna Ermanoviča-Hermanoviča, Kate Eisaka, Elza Evelīna Pāvulāne, Sofja Lurina, Aļika Vodņeva, Milana Mihailova, Annija Pauzere, Estere Līva Logina, Elvis Keišs, Letīcija Orlova, Santa Kirmuža-Svilāne, Pāvels Žeļezņaks, Elizabete Agate Meisīte, Madara Dāvida, Jurģis Emīls Liepiņš, Alise Sedliņa-Brūdere, Krišjānis Brasliņš, Patrīcija Sarmule, Anna Katrīna Elme, Artūrs Skurstenis, and Anna Jurjāne. For the first time, recent professional doctoral graduate Una Pūpola also participated with her own collection.

A strong focus on sustainability emerged throughout the event and was reflected in several of the awards presented by industry partners. Katrīna Ermanoviča-Hermanoviča received the AJ Power Recycling Sustainability Award for her collection Lost in Time (Laikā zudis), which judges said successfully integrated sustainability principles into both concept and execution. The award includes a scholarship to attend the internationally recognised fashion and photography festival in Hyères later this year.

Ermanoviča-Hermanoviča also received the Stockmann Sponsors’ Choice Award for a collection recognised for its combination of contemporary aesthetics, functionality, quality, and sustainable design principles.

The BURDA RĪGA x BERNINA Sponsors’ Choice Award was presented to Alise Sedliņa-Brūdere for The Black Kitchen (Melnā Virtuve), with judges citing craftsmanship, detailed handwork, and an experimental approach to fashion creation. Meanwhile, Elza Evelīna Pāvulāne received a Special Recognition Award for Instruction – Scarecrow (Instrukcija – Putnubiedēklis), earning the opportunity to stage a solo exhibition at the Central Museum of Textiles, one of Poland’s leading textile and fashion institutions.

Industry representatives noted that sustainability has become increasingly integrated into the design process of emerging fashion talent. Uldis Skrebs, a board member of AJ Power Recycling, said sustainability is no longer treated as an additional feature but has become embedded in material selection, production methods, and thinking around garment lifecycles.

The event also highlighted the growing relationship between traditional craftsmanship and digital technologies. Representatives from BURDA RĪGA x BERNINA praised participants for demonstrating technical skills across a variety of handcraft disciplines while simultaneously embracing contemporary digital possibilities.

The collections will remain accessible to the public through a showroom hosted by Stockmann from 10 to 14 June, where visitors can meet designers and purchase selected garments and accessories. The showcase will be followed by the academy’s annual Design Days and Graduation Exhibition, taking place across multiple venues in Riga from 12 to 28 June.

The fashion show was supported by Latvia’s State Culture Capital Foundation, the European Union’s FashionTex project under the Creative Europe programme, and a range of corporate and cultural partners. The event reflects broader trends in European fashion education, where sustainability, material innovation, and interdisciplinary design are increasingly central to how emerging designers are trained and evaluated.

The Textile Institute has announced an intensive short course designed to provide a comprehensive overview of textile materials, manufacturing processes and product performance for professionals working across the textile and apparel sector.

The programme is aimed at individuals involved in textile production, research and development, product development and commercial operations. Participants will explore the properties, production methods and applications of fibres, yarns and fabrics used in apparel, home textiles and technical textile products.

Core modules cover fibre production and performance, yarn manufacturing, weaving, warp and weft knitting, and nonwoven fabric technologies. The course also examines how different textile structures influence end-use performance and product applications.

The final day offers participants a choice of specialist modules focusing on dyeing and finishing processes or fabric testing and analysis. These sessions address topics including textile preparation, colouration principles, fabric specifications and performance evaluation.

According to the Textile Institute, the course is designed to provide both technical knowledge and a broader understanding of the textile value chain. Previous participants highlighted the opportunity to gain insight into processes outside their immediate areas of expertise and to develop a deeper understanding of textile manufacturing.

For fashion educators, the programme reflects growing industry demand for interdisciplinary knowledge that connects material science, production processes and product performance. As sustainability, innovation and technical expertise become increasingly important across the fashion sector, courses that bridge design and manufacturing knowledge continue to play a significant role in professional development.

Founded under Royal Charter in 1925, the Textile Institute is a global professional body for the textiles, clothing and footwear industries, with members in around 60 countries. Its activities focus on education, professional recognition, knowledge sharing and the promotion of excellence across the sector.

The Council of Fashion Designers of America (CFDA) has unveiled the 10 finalists of its 2026 CFDA/Vogue Fashion Fund (CVFF).

This year’s finalists are Aisling Camps; Amir Taghi; Terrence Zhou of Bad Binch Tongtong; Emily Dawn Long; Jamie Haller; Julia Ferentinos of Juju Vera; Zane Li of Lii; George Inaki of Milamore; Claire Sullivan of Miss Claire Sullivan; and Zoe Gustavia Anna Whalen.

The first presentations will be held June 10 following a celebratory cocktail reception. The winner, who will receive 300,000 dollars, will be revealed during a ceremony gala on October 20 in New York. The two runners up will receive 100,000 dollars.

This year marks the first time that animal welfare organisation, Humane World for Animals, will join as a Design Challenge partner. The CFDA said its inclusion intends to urge finalists to take part in a Material Innovation Challenge, prioritising bio-based, cruelty-free textiles.

New members of the selection committee, meanwhile, include Vogue’s incoming editor-in-chief Chloe Malle; Bloomingdale’s chief merchant, Denise Magid; EVP of global brand partnerships at Nordstrom, Yumi Shin; and designer Christopher John Rogers.

In a statement, CFDA chief executive officer and president, Steven Kolb, said the 2026 finalists reflected the “depth of talent and creativity emerging across American fashion today”. “Their unique perspectives and strong sense of purpose represent the future of our industry,” he added.

Buenos Aires - For fashion students dreaming of launching their own label after graduation, the industry has never been more accessible — or more competitive.

Today, young creatives can build a brand directly from their phones, promote collections through social media, connect with manufacturers online and even use artificial intelligence to create campaigns before securing a first investor. But according to Simon Collins, the former Parsons School of Fashion dean now based in China, where he works as an educator and runs his own design consultancy, the core challenge of fashion entrepreneurship remains the same: creating something people genuinely connect with. “Your tools have changed, but what you need to do hasn’t changed,” Collins explains during an interview with FashionUnited. “You still need a good idea”.

From fashion school to industry: Starting your own brand after graduation

Fashion entrepreneurship starts before graduation

One of Collins’ strongest points is that students should not wait until graduation to start building their careers.

At Parsons, he encouraged students to intern early, attend industry events and begin developing professional networks from the beginning of their studies. According to him, the graduates who succeed are usually the ones who were already actively involved in the industry while still studying.

“You should be interning every weekend. You should be going to every event. You should be meeting people,” he explains. “You don’t want to graduate and suddenly decide it’s time to build a network.” For Collins, entrepreneurship is less about officially founding a company and more about developing an entrepreneurial mindset early on. Students who proactively seek opportunities, build relationships and test ideas before graduating tend to adapt faster to the realities of the industry.

Technology changed the tools, not the fundamentals

Over the past decade, launching a fashion brand has become significantly more accessible. Collins points to the rise of social media, e-commerce platforms, AI-generated content and digital production networks as tools that dramatically lowered entry barriers for young designers.

“Now you can start your own brand while you’re still at school, using your phone,” he says. “You can create campaigns using AI, promote through social media and even sell directly through those same platforms.” But despite these technological changes, Collins insists the fundamentals of building a successful fashion business remain the same.

“That doesn’t mean it’s any good though,” he says. “You still need to figure out why people are going to buy your product.”According to him, many students become too focused on personal inspiration instead of understanding consumer desire.“Your inspiration is important to you, but nobody else cares,” he points out. “People care about how it looks, how it feels and what it means to them.”

Why emotional connection matters more than originality

For Collins, one of the biggest mistakes young designers make is overestimating originality while underestimating emotional connection.

Fashion, he argues, is fundamentally about making people feel good — whether through confidence, identity, belonging or self-expression.“You have to decide who your customer is and make them feel good,” he states. This emotional factor is often what differentiates memorable brands from forgettable ones. Collins believes successful emerging labels are not necessarily the most revolutionary, but the ones capable of clearly communicating who they are, who they are for and why they matter. “A strong brand has a strong story,” he explains. “Not ‘my grandmother inspired me’ — but understanding where you’re selling, who your customer is and why there’s room for your brand in the market.”

Building visibility before building a company

In today’s fashion landscape, Collins believes social media presence has become one of the most valuable forms of early-stage brand equity.

“These days, you need to build your IP,” he says, referring to personal branding and audience development. “If someone has a million followers on social media, that’s huge.” But beyond visibility itself, Collins sees audience-building as proof of initiative and business intelligence.

According to him, students should approach social media strategically — not simply as self-promotion, but as a tool for testing ideas, building communities and understanding how to communicate with consumers. At the same time, he stresses that digital visibility alone is not enough without consistency and execution. “There are some people you meet and you immediately think: you’re going to be successful,” he observes. “And others you barely remember.”

The reality of funding and financial independence

One of the most direct moments in the interview comes when Collins addresses one of the biggest concerns among graduates: funding.

“You’re not going to get funding,” he points out. “No one is going to give you money.” Rather than waiting for investors, he encourages graduates to focus on generating momentum independently — even at a very small scale.

“You’ve got to make money somehow. Be a bartender if necessary,” he says. “Sell a few garments. Start small. Make it happen.” For Collins, self-initiative is often what convinces others to eventually offer support. “If you’re helping yourself, people will want to help you,” he explains. “But if you’re not helping yourself, why should anyone else?”

This pragmatic perspective reflects a broader shift in fashion entrepreneurship, where young designers increasingly combine freelance work, internships, personal projects and small-scale production while gradually building their brands.

Entrepreneurship and employment are not opposites

Despite encouraging entrepreneurial thinking, Collins does not romanticize launching a brand immediately after graduation. In fact, his advice for most graduates is to first gain industry experience within established companies. “Every single day that goes by, you learn more,” he explains and adds: “Make mistakes on someone else’s money first.”

According to Collins, working inside a company allows young creatives to better understand production, communication, business operations and team dynamics before taking on the risks of entrepreneurship. At the same time, he believes entrepreneurial qualities are equally valuable inside large organizations. “If they ask you to make coffee, make really good coffee,” he suggests. “Be proactive. Bring ideas. Show initiative.” For him, successful careers — whether entrepreneurial or corporate — are ultimately built on the same foundation: curiosity, adaptability, consistency and the ability to create value.

Brands that succeed understand their audience

When asked about brands that successfully identified opportunities early on, Collins highlights Skims as a strong example.

For him, the success of the brand came from recognizing an underserved market and building a clear emotional and commercial proposition around it. “The minute I saw it, I thought: that’s brilliant,” he says.

He also points to Parsons alumni such as Alexander Wang, Proenza Schouler and Jason Wu as examples of designers who successfully translated personal identity into coherent brands early in their careers. “They personified the brand,” Collins explains. “People understood who they were and what they stood for.”

The value of adaptability

Throughout the interview, Collins repeatedly returns to one idea: adaptability. While strategy matters, he believes rigid plans quickly become obsolete in an industry that constantly changes. “You need to be heuristic,” he emphasizes. “If circumstances change on day two, you change everything.”

For graduates entering today’s fashion industry, that flexibility may be one of the most important professional skills of all. “The strategy is not knowing exactly what will happen,” Collins concludes. “The strategy is knowing how to find the answer when things change.”

Istituto Europeo di Design is marking its 60th anniversary with recognition from the prestigious Compasso d’Oro, one of the design industry’s most respected awards.

The honour comes as IED celebrates six decades of design education and launches a series of initiatives under the theme “Plural Intelligences,” a concept that explores how different forms of knowledge, creativity, and innovation can work together to address contemporary social and environmental challenges.

Founded in 1966, IED has grown into an international network of design schools with campuses across Italy, Spain, and Brazil. The institution offers programmes in fashion, design, visual arts, communication, and management, and has become known for its emphasis on combining academic learning with industry collaboration.

The award highlights IED’s long-standing contribution to design education and its role in training generations of creative professionals. Throughout its history, the institution has sought to connect design practice with technological innovation, cultural research, and business development, reflecting broader changes in the global creative industries.

In fashion education, IED has expanded its focus beyond traditional design training to include sustainability, digital technologies, fashion communication, and business strategy. Its programmes encourage students to engage with emerging challenges facing the industry, including environmental responsibility, changing consumer behaviour, and the integration of new technologies into design processes.

The anniversary year also includes exhibitions, talks, student showcases, and international projects designed to highlight the work of current students and alumni. These initiatives aim to reinforce the institution’s position within the global design and fashion education landscape while encouraging dialogue around the future of creative professions.

The Compasso d’Oro, established in 1954, is widely regarded as one of the most influential awards in industrial and product design. The recognition places IED among a select group of institutions and organisations acknowledged for their contributions to design excellence and innovation.

As fashion and design education continue to evolve, schools such as IED are increasingly focusing on interdisciplinary learning and preparing students for careers that require a combination of creative, technological, and strategic skills. The award underscores the growing role educational institutions play in shaping the next generation of designers and creative leaders.

On June 15, the Amsterdam Fashion Academy will present its largest and most ambitious End-of-Year Show, bringing together graduates Bachelor’s with Honours in Fashion Design and Fashion Business & Innovation in one dynamic celebration of creativity, outstanding designs, innovation, and future-focused thinking.

Hosted in De Hallen Studio’s Amsterdam, this exceptional Fashion event is a large- scale runway show and exhibition showcasing the next generation of Fashion leaders.

This year’s show is distinguished by its wide variety of disciplines, ranging from knitwear and experimental craftmanship to metalwork and swimwear. The runway show will spotlight 21 graduating Fashion Design students, presenting collections which explore identity, culture, sustainability, and contemporary social commentary through fashion.

As the Academy’s biggest production to date, the show will feature talent from leading Dutch model agencies such as New Generation Model Management, Inbetween Models, and Diversity Model Agency. The audience will also see work from the Foundation and First-Year Fashion Design students, including a special collaboration with Viktor&Rolf.

Alongside the runway show, the Fashion Business & Innovation Graduate Exhibition will showcase strategic and industry-focused projects exploring branding, AI, consumer insight, entrepreneurship, sustainability, retail innovation, and digital Fashion futures.

Rather than presenting Fashion purely as aesthetics, the exhibition highlights the business behind fashion, exploring how ideas create value, connect with audiences, and operate within a rapidly evolving global Fashion industry.

Together, the graduate Fashion Design collections and Fashion Business & Innovation projects reflect a new generation of creatives redefining the future of Fashion.

The event is open to industry professionals, media, and the public.

About the Amsterdam Fashion Academy 

The Amsterdam Fashion Academy is a boutique, international Fashion university in the centre of Amsterdam. Offering accredited Bachelor’s degrees with Honours, in Fashion Design and Fashion Business & Innovation, validated by Coventry University London. The Academy also provides a one-year pre-degree Foundation diploma. Part of Luiss Business School in Italy, the Academy is regognised for small class sizes, personal attention and a strong culture of innovation and progressiveness. With a strong focus on sustainability, digital fluency and industry relevance, the Amsterdam Fashion Academy prepares students to lead the future of Fashion.

Former Marks & Spencer chief executive Marc Bolland has been appointed by the UK government to support efforts aimed at addressing youth unemployment, as concerns continue to grow over the number of young people not in education, employment or training (NEET).

According to Sky News, Bolland will work with government and industry stakeholders to help create pathways into employment, particularly for younger people facing barriers to entering the workforce. The initiative forms part of wider efforts to strengthen skills development, training opportunities and employer engagement across different sectors.

The appointment comes at a time when fashion, retail and creative industries are increasingly focused on workforce development and future talent pipelines. Across the sector, educational institutions, brands and industry organizations have expanded scholarship programs, mentorship initiatives and skills-focused partnerships designed to connect students and recent graduates with career opportunities.

Industry observers have noted that retail remains one of the UK's largest employers and continues to play an important role in providing entry-level jobs and training opportunities for young workers. At the same time, businesses are facing growing demand for skills related to digital commerce, sustainability, technology and supply chain management.

For fashion educators, the development highlights the increasing emphasis being placed on employability and industry collaboration within education. Universities and training providers are continuing to explore partnerships with employers to help students gain practical experience and develop skills aligned with evolving workforce needs.

The government's collaboration with Bolland reflects a broader recognition that addressing youth unemployment will require coordinated efforts between education providers, employers and policymakers as industries adapt to changing economic and technological conditions.

Graduating students from the Apparel Design department at Rhode Island School of Design showcased their work through Collection 2026, the institution’s annual exhibition celebrating the creativity, technical skills and research-driven approach of its senior designers.

According to a press release from the school, the showcase featured collections developed over the course of the students’ final year, offering a glimpse into how emerging designers are responding to contemporary issues through fashion. Themes explored across the collections included sustainability, identity, craftsmanship, material innovation, technology and cultural storytelling, reflecting the increasingly interdisciplinary nature of fashion education.

More than a traditional runway presentation, Collection 2026 demonstrates RISD’s emphasis on combining creative experimentation with critical thinking and problem-solving. Students are encouraged to investigate social, environmental and personal narratives through design while developing the technical expertise needed to bring their ideas to life.

The annual showcase also serves as an important professional platform, providing graduating designers with exposure to industry leaders, employers, media and potential collaborators as they prepare to enter the fashion workforce or pursue further study.

As fashion education continues to evolve, Collection 2026 highlights how institutions such as RISD are preparing students not only as designers, but also as innovators and creative thinkers capable of addressing the challenges and opportunities shaping the future of the global fashion industry.

A new Erasmus+-funded initiative, FashionSkills4Better, has been launched to support sustainable fashion education and vocational training across Europe and Latin America. Running for 30 months, the project brings together nine partners from six countries to help develop the skills needed for the fashion industry's green and digital transition.

The programme focuses on sustainability, circular economy practices, digital innovation and regenerative design, while creating new opportunities for students, educators, designers, entrepreneurs and SMEs.

Key activities will include the development of a specialised training programme, the creation of Living Fashion Labs in Latin America, digital learning tools, international workshops and collaborative research projects.

By connecting education with industry needs, FashionSkills4Better aims to prepare future fashion professionals for a more sustainable, circular and socially responsible fashion sector while strengthening cooperation between Europe and Latin America.

Twelve graduating designers from JCA London Fashion Academy will present their collections at the institution’s 2026 Graduate Showcase, an event designed to connect emerging talent with fashion industry leaders while demonstrating the role of industry-focused education in preparing students for professional careers.

The showcase, scheduled for 18 June at Haberdashers' Hall, will feature collections spanning ready-to-wear, accessories and experimental design. Selected graduates represent a range of creative disciplines, reflecting the academy’s emphasis on both technical craftsmanship and entrepreneurial development.

Bridging education and industry

Founded by Jimmy Choo, JCA was established with a focus on industry-led learning and entrepreneurship. According to the academy, its educational model is designed to help students develop not only creative and technical skills but also the business knowledge needed to navigate an increasingly competitive fashion sector.

The annual graduate showcase serves as a practical extension of that philosophy, giving students an opportunity to present their work directly to fashion professionals, media representatives, buyers and potential collaborators. Such events have become an increasingly important component of fashion education, allowing graduates to gain visibility and professional experience before entering the industry.

Craftsmanship and entrepreneurship at the core

In remarks accompanying the announcement, Jimmy Choo highlighted the continuing importance of craftsmanship in fashion education, noting that technical excellence remains fundamental despite rapid changes across the industry. He also emphasised entrepreneurial thinking as a key attribute for emerging designers building careers in today's fashion landscape.

JCA Director Lucy Choi described the showcase as a platform that places student work directly in front of industry decision-makers, helping graduates transition from education into professional practice.

A personalised approach to fashion learning

Unlike many traditional fashion programmes, JCA states that it tailors learning pathways to individual disciplines rather than following a single curriculum model for all students. The institution's approach includes specialised facilities and sustainability-focused postgraduate programmes that combine design development with entrepreneurship and brand innovation.

This reflects a broader shift across fashion education, where schools are increasingly integrating business strategy, sustainability and professional development into design-focused curricula.

Preparing the next generation of designers

As fashion education continues to evolve, graduate showcases such as JCA's provide students with more than a final presentation of their work. They function as career-launching platforms that encourage networking, industry engagement and entrepreneurial thinking alongside creative expression.

By combining craftsmanship, sustainability and business education, JCA's 2026 Graduate Showcase illustrates how fashion schools are adapting to prepare graduates for a profession that increasingly demands both creative talent and commercial understanding.

Titled André Leon Talley: Style is Forever, the exhibition runs through Oct. 31 at SCAD FASH Museum in the village of Lacoste, France. The exhibition features pieces from Talley’s personal collection, which were donated to SCAD following his death in 2022.

Organisers said the exhibition presents clothing, accessories, photographs, and archival documents intended to highlight Talley’s impact on fashion journalism, luxury culture, and mentorship within the industry. Among the featured works are designs created by Karl Lagerfeld for Chanel, John Galliano for Dior, and Tom Ford for Yves Saint Laurent.

Talley, who served in senior editorial roles at Vogue and became one of fashion’s most recognizable public figures, was known for championing emerging designers and advocating for greater diversity within the luxury fashion industry. His career spanned several decades and included collaborations with leading designers, editors, and cultural institutions across Europe and the United States.

The exhibition also reinforces SCAD’s ongoing investment in fashion education and museum programming through its international campuses. SCAD Lacoste, established in 2001, serves as the university’s residential study-abroad location in Provence and hosts academic programmes across multiple creative disciplines. The campus is situated within a restored medieval village known for its long association with artists and cultural tourism.

SCAD officials said Talley’s donated archive will continue to support future generations of students, researchers, and fashion historians. The university has increasingly expanded its role in preserving fashion history through exhibitions, collections, and partnerships linked to its fashion and luxury management programmes.

Founded in Georgia in 1978, SCAD operates campuses in Atlanta, Savannah, and Lacoste, alongside online learning initiatives. The university enrolls approximately 18,500 students from more than 100 countries and maintains degree programmes across fashion, film, architecture, design, and digital media.

The exhibition comes amid renewed institutional attention toward preserving the legacy of influential Black figures in fashion history, particularly editors, stylists, and creatives whose contributions helped shape modern luxury culture but were historically underrepresented in museum collections and academic narratives.

Announced on May 27 in New York, the audio series examines how people under 30 working in production, sourcing, manufacturing, and design view the future of the denim industry amid ongoing conversations around sustainability, labor practices, and technological change.

According to the platform, the series was developed in response to concerns about generational renewal within the fashion industry and seeks to amplify voices that are often absent from mainstream fashion media coverage. Rather than focusing on influencers or public-facing creative figures, the podcast centers on what it describes as “operators, technicians, factory-floor thinkers, sourcing specialists, and emerging leaders” already active within supply-chain systems.

The series includes contributors from multiple regions involved in global apparel production, including the United States, Turkey, Belgium, Pakistan, and Canada. Organisers said the programme aims to broaden industry discussions by including voices from areas often underrepresented in mainstream fashion conversations.

Topics explored throughout the podcast include sustainability practices within real manufacturing environments, the future of denim sourcing and production, working conditions, career development in supply-chain roles, and the long-term cultural relevance of denim itself.

The project reflects a wider shift within the fashion industry toward greater scrutiny of supply chains and labor structures. Over the past decade, discussions around sustainability and ethical production have increasingly expanded beyond consumer-facing branding to include manufacturing processes, sourcing transparency, and the experiences of workers operating throughout the global apparel network.

In a statement included in the release, Jeansland described the series as an effort to “listen, not lead,” emphasizing the importance of understanding how younger generations already working within the system view the future of the industry.

Six episodes of “Fresh Blood” are currently available, with additional episodes in development. The series is distributed through major podcast platforms including Apple Podcasts and Spotify.

The programme, operated through Kent State University School of Fashion, has provided approximately 150 students annually with semester-long study opportunities in New York City, where they combine academic coursework with internships, networking, and direct exposure to the fashion industry. University officials said the June 11–12 anniversary celebration will bring together alumni, faculty, students, donors, and industry partners to recognize the programme’s legacy and future development.

Based in Manhattan’s Garment District, the NYC Fashion program offers courses taught by faculty members who are active professionals within the fashion industry. Students also participate in internships, industry panels, networking events, and volunteer opportunities during New York Fashion Week.

Ann Mariko Walter, director of Kent State’s NYC Fashion program, described the initiative as “a strategic bridge between Kent State and the fashion industry,” adding that the city itself functions as “a living classroom” where students gain direct insight into professional practices and build industry connections.

The anniversary events will begin on June 11 with a Portfolio Showcase and Reception at The Joyce Public House in Manhattan. The open-house event will feature portfolios from recent graduates in fashion design and merchandising, alongside work by emerging alumni designers.

The following evening, the university will host “An Evening of Style and Support” at Queensyard in Hudson Yards. The fundraising dinner will support the NYC Fashion Housing Fund, a university initiative designed to offset the cost of housing for students participating in the semester-away programme in New York City.

Fashion executive Fern Mallis, often referred to as the “Godmother of Fashion” for her role in developing New York Fashion Week, is expected to attend the June 12 event. Mallis was recently inducted into the Kent State School of Fashion Hall of Fame during the university’s Fashion Week 2026 celebrations.

Mourad Krifa, director of Kent State’s School of Fashion, said the programme’s longevity reflects the school’s emphasis on combining academic instruction with real-world experience. The university reports that graduates from the fashion school have a 93 percent job placement rate and that more than 6,200 alumni now work throughout the fashion industry.

Founded in 1983 as the Shannon Rodgers and Jerry Silverman School of Fashion Design and Merchandising, Kent State’s fashion programme has expanded internationally with additional study-away opportunities in Florence, Paris, and Hong Kong. The New York City location remains one of its most prominent initiatives, placing students in close proximity to designers, brands, media organizations, and retailers operating throughout Manhattan.

The anniversary comes amid growing emphasis across fashion education on experiential learning and industry integration, as universities seek to prepare students for careers shaped by sustainability challenges, technological innovation, and changing global retail environments.

Parsons School of Design unveiled the BFA Fashion Design Class of 2026 during its annual graduate runway presentation in New York, showcasing collections that explored identity, craftsmanship, sustainability, and interdisciplinary approaches to contemporary fashion.

The Parsons 2026 BFA Graduate Runway Show, titled “ENSEMBLE,” brought together 31 designers representing 12 nationalities across four continents, according to programme materials and event coverage. The showcase highlighted the diversity of creative perspectives emerging from one of the fashion industry’s most internationally recognized design schools.

The collections presented at the show reflected broader shifts within fashion education toward conceptual storytelling, sustainability, material experimentation, and socially engaged design. Parsons’ Fashion Design BFA programme encourages students to work across multiple pathways — including Collection, Materiality, Fashion Product, and Systems and Society — while integrating both traditional craftsmanship and digital techniques into their practice.

According to FashionNetwork, the graduate showcase served as a platform for students to present highly individualized visions that combined technical garment construction with research-driven concepts. Related programme materials described the runway as a celebration of “individuality, craftsmanship, and creative experimentation.”

The runway presentation formed part of a wider series of Parsons graduate events, including the BFA Fashion Exhibition 2026, an open-studio exhibition allowing press, industry professionals, and the public to view students’ garments, portfolios, and research processes in detail. The exhibition also included awards presentations and industry networking opportunities.

Founded in 1896, Parsons has long been regarded as one of the leading fashion schools globally and was among the first institutions in the United States to establish formal fashion design education. Alumni of the school include designers such as Marc Jacobs, Donna Karan, Tom Ford, Anna Sui, and Jason Wu.

The school’s fashion programme continues to emphasize industry collaboration, with partnerships involving luxury groups and brands including LVMH, Kering, Louis Vuitton, Coach, and Swarovski.

The 2026 showcase comes amid ongoing changes in fashion education internationally, as schools increasingly encourage students to engage with sustainability, inclusivity, emerging technologies, and critical social perspectives alongside conventional design training. Graduate runway presentations have also become more prominent as public-facing industry events, giving emerging designers visibility with recruiters, editors, stylists, and luxury brands before entering the professional market.

Savannah College of Art and Design celebrated the largest graduating class in the history of its School of Fashion this month during SCAD Fashion 2026, a multi-day showcase highlighting the work of emerging fashion designers from the university’s Atlanta and Savannah campuses.

The annual event culminated in a runway presentation at the SCAD Museum of Art featuring more than 60 student designers and nearly 200 looks, according to local media reports and university statements.

The showcase reflected the continued expansion of SCAD’s fashion programmes, which include degrees in fashion design, accessory design, fashion marketing and management, fibers, jewelry, and sneaker design. University officials described the 2026 graduating cohort as the school’s largest to date and emphasized the diversity of creative approaches represented on the runway.

According to Dirk Standen, the collections shared a strong emphasis on storytelling and experimentation, with students already building professional visibility before graduation through celebrity placements, social media exposure, and independent production runs.

The runway presentation included mentorship collaborations with Peter Copping, artistic director of Lanvin, who worked with students on eveningwear collections presented during the show. Supermodel Coco Rocha also participated by coaching student models and opening the runway presentation.

Student collections explored a broad range of themes and cultural references. According to fashion publication Fashionista, projects included collections inspired by Victorian aesthetics, migration, Swedish folklore, South Korean political protests, and family experiences surrounding Hurricane Katrina.

The 2026 edition also introduced BAZAAR by shopSCAD, a new retail initiative showcasing limited-run fashion, jewelry, and accessories produced by SCAD students and alumni. University officials said selected runway collections would become available through the platform following the show.

SCAD has increasingly positioned itself as a major fashion education institution despite operating outside traditional fashion capitals such as New York, Paris, Milan, and London. The university has received industry recognition in recent years for its design and fashion programmes, including rankings that place it among leading art and design schools internationally.

The event took place ahead of the university’s 2026 commencement ceremonies, where British fashion designer Stella McCartney is scheduled to serve as commencement speaker.

The annual fashion presentation of Gerrit Rietveld Academie took place on 25 May in and around De Hallen Studio's, with graduating students using the event to challenge traditional fashion show structures and explore questions around accessibility, public space, and participation.

The 2026 edition of the Rietveld Academie Fashion Show 2026 featured graduation projects by Mikołaj Szwaja, Joris Janssen, Estefanía Escalona Millano, Evelina Nanny Eliasson, Simone Winder, Johanne Fage-Larsen, and Feliz Aaliyah Sánchez Buitrago. Organisers described the presentation as an experiment in moving beyond conventional fashion industry hierarchies by integrating the show into the surrounding urban environment.

Unlike traditional runway shows held in restricted venues, the event expanded into public spaces surrounding De Hallen Studio’s in Amsterdam’s Kinkerstraat area. While collections were activated inside in a concert-like environment where audiences could move freely through the performance space, livestreams were simultaneously broadcast in nearby local businesses including Best Döner & Snacks and Maxella A Fashion.

Organisers framed the show around the question: “When is fashion public?” The programme challenged established ideas about exclusivity in fashion presentations, asking who gets access to fashion experiences and whether runway events can become embedded within everyday life rather than remaining closed industry spectacles.

According to the academy, the participating collections explored themes including alternative forms of world-building, expanded understandings of the body, and critiques of dominant heteronormative and Eurocentric cultural frameworks. The performances also examined material experimentation and fragility, with designers proposing approaches intended to be more socially engaged and environmentally conscious.

The Fashion department at Gerrit Rietveld Academie positions itself as an alternative to commercially driven fashion education models. The programme encourages students to critically examine the cultural and social meanings of clothing while developing multidisciplinary and community-oriented practices through theory, technical experimentation, and collaborative work.

The presentation reflects a broader movement within independent fashion education toward more participatory and socially conscious formats. Fashion schools and experimental design programmes across Europe have increasingly questioned the exclusivity, environmental impact, and commercial orientation of conventional runway systems, instead exploring public interventions, performance art, livestreaming, and collective experiences as alternative forms of presentation.

The 2026 Rietveld Fashion Show was supported by Keep an Eye Foundation, Meester Koetsier Foundation, Stichting van Stigt-ing, and De Hallen Studio’s.

ANDAM has awarded French technology company Alphalyr the 2026 ANDAM Innovation Prize, granting the startup €100,000 for its artificial intelligence platform focused on supply chain, retail, and e-commerce analytics for the fashion industry.

The award, announced in Paris on 22 May, recognizes technological innovations aimed at reshaping the fashion sector through sustainability, operational efficiency, and digital transformation. The decision was made by a committee of fashion, luxury, and technology executives convened at Institut Français de la Mode.

Founded in 2017, the ANDAM Innovation Prize supports startups developing technologies with applications across fashion production, distribution, materials, and circular economy systems. According to Nathalie Dufour, previous winners have collectively raised more than €200 million and formed partnerships with major luxury and fashion groups.

Alphalyr’s platform uses AI-driven analysis to convert retail, supply chain, and e-commerce data into operational insights intended to improve coordination and performance across fashion businesses. Company executives Bertrand Fredenucci and Nicolas Fellous said the award would help accelerate the adoption of AI tools designed to increase “resilience, agility, and sustainability” for brands and retailers.

The expert committee also presented a special recognition award to Pili, a startup developing biosourced pigments and dyes using microbial fermentation and green chemistry. The company’s technologies are intended as alternatives to petroleum-based textile dyes, including biosourced indigo pigments for denim production.

Yann Gozlan, founder of Creative Valley and a member of the jury, said this year’s submissions reflected increasing maturity in sustainable materials innovation as well as more practical uses of AI across fashion’s value chain. He noted that companies were addressing issues such as water use, carbon reduction, operational efficiency, and creative collaboration.

The 2026 finalists included startups working across biomaterials, AI-assisted design, textile recycling, repair services, and alternatives to synthetic or petroleum-based materials. Among them were BIOFLUFF, which develops biodegradable faux fur made entirely from plant fibers; Fiberly, which converts textile waste into recycled fibers using biomimetic engineering; and Renature, which has developed a flexible plastic-free material derived from agricultural byproducts.

Other finalists focused on AI-driven creative and operational tools, including YOONA.AI and AWEN, reflecting the growing role of artificial intelligence within fashion product development, merchandising, and trend forecasting.

The judging committee included representatives from major luxury and fashion organizations such as Chanel, Kering, Meta, Lacoste, and Fédération de la Haute Couture et de la Mode.

The award comes amid broader efforts across the fashion industry to invest in technologies aimed at reducing waste, improving supply-chain visibility, and meeting stricter environmental expectations from regulators and consumers. Luxury groups and fashion retailers have increasingly backed startups focused on circularity, alternative materials, and AI-assisted production as the sector faces pressure to reduce its environmental footprint while improving efficiency.

According to organisers in a press release, “La Colección 6.0” brought together 19 graduating fashion design students under the theme “Las Formas del Pensamiento” (“The Forms of Thought”), encouraging participants to translate ideas, cognitive processes, and personal experiences into wearable design. The event was presented by the university’s Fashion Design programme as a platform for emerging Ecuadorian talent with ambitions for both domestic and international recognition.

The collections incorporated a range of traditional and contemporary techniques, including embroidery, 3D printing, biomaterials, and the use of chambira — a natural fiber associated with Amazonian artisan practices. Several projects also involved collaboration with local communities connected to the students, reflecting broader conversations within Latin American fashion around sustainability, heritage preservation, and ethical production.

Organisers said the showcase aimed to position fashion not only as a commercial industry but also as a form of cultural and conceptual expression. The students’ work explored individual identity and experimentation while reinterpreting traditional craftsmanship through contemporary design approaches.

The university highlighted the event as part of Ecuador’s growing creative economy and emerging fashion sector. Previous editions of the programme have produced independent brands and designers now active within the national fashion landscape, including labels such as SANTO, CHERRY PAM, BLESK, AMBAR, and ARENA.

The showcase reflects a wider trend in global fashion education, where graduate collections increasingly emphasize sustainability, local identity, and interdisciplinary research alongside technical garment construction. Fashion schools across Latin America, Europe, and North America have expanded their focus on circular production methods, indigenous textile traditions, and digital fabrication technologies as the industry adapts to environmental and technological pressures.

Organisers said this year’s edition demonstrated how Ecuadorian fashion design continues to evolve toward “greater conceptual depth, cultural sensitivity, and international competitiveness,” while positioning emerging designers as part of a new generation seeking to expand the visibility of Ecuador’s creative industries abroad.

Fashion design graduates from Winchester School of Art transformed Winchester Cathedral into a runway venue this week, presenting collections that combined historical references, digital design tools, and contemporary fashion experimentation during the school’s annual graduate showcase.

Held inside the cathedral’s nave, the 2026 Graduate Fashion Show featured collections from 25 final-year students, with 12 selected to advance to Graduate Fashion Week in London next month. According to organisers, the event marked the first time the cathedral had been used as the setting for the show, placing avant-garde student work against one of England’s best-known historic religious landmarks.

Winchester School of Art, part of the University of Southampton, said the showcase reflected both technical training and experimental approaches to fashion presentation. Matthew Coats, a former designer at Chanel under the late Karl Lagerfeld and now programme lead for Fashion Design at WSA, described the graduates’ work as “extremely high” in quality and said the cathedral setting provided “the perfect inspiring and impressive backdrop” for the collections.

For the first time, students also led the production of the event themselves. Show planner Grace Cowan said the presentation was intended as both a celebration and culmination of three years of work.

Several collections explored themes tied to technology, history, and identity. Graduate Jiaheng Liu, known professionally as Augustin, presented “Couture of Them,” a collection featuring 3D-printed accessories examining masculinity and technological evolution. Liu has been accepted into a master’s programme at Institut Français de la Mode in Paris.

Another student, Nuo Xu, whose collection “Suspended Memory” drew on Second World War heritage, brutalist architecture, and punk influences, will continue postgraduate study at London College of Fashion and has been recognised by Graduate Fashion Week as a “Talent of Tomorrow.”

The school also highlighted its increasing use of digital fashion tools, including the software platform CLO3D. Faculty members said students created digital avatars of themselves to test garment fit both physically and virtually, part of what the programme describes as an effort to combine traditional and AI-assisted fashion workflows.

Alongside the runway presentations, students participated in a research and archival project titled “Reimagining Sue Clowes,” developed with fashion historian Dr Shaun Cole. The initiative revisited the work of Sue Clowes, whose designs became closely associated with Culture Club and singer Boy George in the 1980s. Students reinterpreted garments from archival collections before producing original work inspired by Clowes’ style.

The showcase reflects a broader shift in fashion education, where graduate presentations increasingly serve as both artistic statements and professional launch platforms. Across the industry, fashion schools have expanded the use of digital prototyping, sustainability research, and interdisciplinary storytelling as emerging designers prepare for a changing luxury and retail landscape.

On Thursday 18 June, the Centrale Markthal in Amsterdam will transform into a runway for a new generation of fashion voices. Graduating Fashion & Design students will present collections that challenge conventions, reflect on contemporary society, and explore the evolving role of fashion in a rapidly changing world.

Get your tickets here

The AMFI Fashion & Design Graduation Show 2026 brings together a new generation of designers who use fashion as a means to express personal stories, societal issues, and cultural tensions. Throughout the collections, themes such as identity, heritage, femininity, mental health, queer expression, digitalisation, and the need for protection and connection continuously emerge. The graduates explore how clothing can function not only as something to wear, but also as a carrier of memories, emotions, and protest.

With a strong focus on craftsmanship, material research, and experimentation, the designers demonstrate how fashion moves between physical and digital worlds, between tradition and innovation, between vulnerability and strength. From handcraft and upcycling to innovative techniques and sculptural silhouettes, the show reflects a generation that critically observes the world around them while simultaneously creating space for imagination, softness, and personal autonomy. The result is a diverse presentation in which fashion becomes not only aesthetic, but also a way to reveal new perspectives.

Practical Information

• Date: Thursday 18 June 2026
• Tickets: €22,50, exclusive of administration fees.
• Door open: 18:30
• Show: 19:00 - 20:30
• Dinner & Drinks: 20:30 – 23:30.

Centrale Markthal, Jan van Galenstraat 4 1051 KM Amsterdam

Students at Rocky Mountain College of Art + Design are set to present experimental runway collections at the institution’s 2026 Fashion Showcase and Award Ceremony, an annual event that highlights emerging talent in fashion design and apparel construction.

According to a release distributed through PR Newswire, this year’s showcase centers on the idea of “recontextualizing the catwalk,” with students using fashion presentation as a medium for storytelling, identity exploration, and cultural commentary. The event will feature original garments created by fashion design students, alongside awards recognizing achievement in categories such as craftsmanship, concept development, and presentation.

Fashion education toward conceptual runway formats

The showcase reflects a broader trend within fashion education toward interdisciplinary and conceptual runway formats, where student designers are encouraged to combine traditional garment-making with performance, digital media, sustainability practices, and social themes. Similar conversations around innovation and sustainability have recently appeared across the global fashion industry, including at the 2026 Global Fashion Summit in Copenhagen, where industry leaders emphasized resilience, circular design, and emerging creative technologies.

RMCAD, founded in 1963 and based in Lakewood, Colorado, offers degree programs in visual arts, design, and media disciplines. The college has increasingly positioned student showcases as public-facing professional platforms, connecting graduates with broader creative industries. Earlier announcements from the institution highlighted expanding student participation across fashion, animation, and game arts programming.

While fashion school runway events traditionally focused on technical skill and seasonal collections, educators say newer formats place greater emphasis on narrative, inclusivity, and experimentation. RMCAD’s 2025 showcase, themed “Identity,” similarly encouraged students to express personal and cultural perspectives through original collections.

At a pivotal moment for Europe’s textile and fashion industry, the Amsterdam University of Applied Sciences (AUAS/HvA) will host the international Textile ETP Conference from 26 to 28 May 2026, Europe’s leading platform for future-proof fashion and textiles. Researchers and the industry will join forces to make transformation possible, as new European legislation forces companies to change how they design, produce and sell clothing. One major catalyst: the EU’s upcoming Digital Product Passport.

This month, science and industry join forces in Amsterdam to assess how digitalisation and data-driven business models will reshape the textile and apparel sector. A crucial moment, as Brussels is introducing new rules that will fundamentally change this industry.

“The industry is not quite there yet, footwear for instance is not as willing as we had hoped”, says Troy Nachtigall, professor Fashion Research and Technology at AUAS. “The Digital Product Passport transformation is coming through the Ecodesign for Sustainable Products regulation (ESPR). It will dramatically change the landscape. The product passport digitalizes a sector that has resisted being digitalized, but that opens up all kinds of new possibilities.”

Front-runners

The conference of the European Technology Platform for the Future of Textiles and Clothing (ETP) in Amsterdam aims to accelerate this transition, by bringing together science and industry. Over the past decade, Nachtigall’s research group and its partners from ETP have already explored what the future of fashion and textiles could look like. This knowledge is becoming increasingly urgent, as companies must change due to European legislation.

“As a research group we use a lot of speculative design,” says Nachtigall. “We’re taking the impossible, making it barely possible and helping companies taking it from there and make it better.” The researchers work together with companies as Knitwear Lab and ByBorre, pioneers of the future of fashion production.

Microfactory

Nachtigall thinks that automation and robotics will play a crucial role in the future of fashion manufacturing. The Amsterdam University of Applied Sciences has a robotized microfactory where knitted sweaters can be produced on-demand.

“We don’t see a lot of people that want to do textile engineering or the manual side anymore, not even in China or Bangladesh. One of the more interesting things we see, is that no generation wants their children to work in textiles. This idea that we’re starting to move towards robots and automatization is way to go.”

Nachtigall points to a future in which designers can test products before they even enter production. “A designer can make something, put it on Instagram, and could have sold 10 pieces before they even go into manufacturing and production. And when it’s made by someone who’s closer to you, I think that will cause a deeper connection towards clothing.”

Global players

Worldwide, only a small number of institutions are researching how robotics and digitalization can transform the fashion industry. Besides AUAS, Nachtigall points to institutions such as Politecnico di Milano, the Swedish School of Textiles and MIT. “It’s a small group of people working in this way, and we all basically know each other.”

Hosting this conference of European innovators in Amsterdam gives the Fashion Research & Technology research group and AMFI an international platform to showcase the impact of practice-based research. “What makes our research group unique is our holistic perspective,” says Nachtigall. “We don’t focus on just one part of the fashion industry, but look at the entire ecosystem.”

Through the NewTexEco network, AUAS collaborates with other research partners to tackle sustainability challenges across the entire supply chain, from fibre production and manufacturing to retail and waste streams.

AUAS is also preparing students for this rapidly changing industry through its Fashion Research and Technology research group, AMFI, and the Master’s programme in Digital Fashion Technology.

The anniversary conference in Amsterdam is organised by AMFI, AUAS and Modint in collaboration with the European network for textile and clothing innovation.

About the EU Legislation

The European Union is developing new legislation designed to make sustainable fashion and textiles the standard. One key element is the Digital Product Passport (DPP): a digital record that shows exactly where a garment was made, where its materials come from, how it was produced, and how it can be repaired or recycled.

The passport is part of the Ecodesign for Sustainable Products Regulation (ESPR). The rules will apply to all brands selling clothing, textiles or footwear within the EU. In addition, large fashion companies will no longer be allowed to destroy unsold clothing and footwear from 2026 onwards. Medium-sized companies will follow in 2030, while small brands are currently exempt.

The EU is expected to finalize the textile and Digital Product Passport regulations in 2027.

André Vieira is a Portuguese fashion designer who graduated with the highest distinction (20/20) from the Faculty of Architecture, University of Lisbon, where his Master's research focused on generative AI and hybrid human-machine workflows in fashion design. His practice integrates traditional pattern-making and garment construction with 3D simulation and generative AI tools — structured around four phases: strategic research and concept generation, iterative visual development, virtual prototyping and product engineering, and communication. Throughout every phase, the designer's critical curation functions as the permanent axis.

For his Design Forward 26 submission, André worked exclusively on The Fabricant platform — using Create Image, Edit Image, Photo Studio, Editorial, and Upscaler to cover the full arc from visual ideation to final editorial output. Upstream, he used ChatGPT and Claude for trend research, concept structuring, and prompt development — not as design tools, but as textual interlocutors that help translate creative intent into precise generative instructions before image generation begins.

AI has fundamentally shifted André's role from executor to curator — what he calls a "hybrid operator" between human and machine. The creative process is no longer linear: it moves in a cycle of prompting, generation, critical evaluation, and refinement. In this model, AI doesn't replace judgment — it makes judgment more consequential. He describes the most valuable quality of generative tools as "beneficial unpredictability": unexpected outputs that break conventional thinking, but only when the designer has the visual culture and critical capacity to recognise and direct that value.

André sees the designer of the future not as the one who draws, but as the one who orchestrates intelligence, edits narratives, and transforms data into meaning. He proposes a "skill set stack" in which traditional foundations, digital execution, generative literacy, and strategic vision operate simultaneously — not sequentially. The most significant impact of this shift, he argues, is democratisation: small teams and individual designers can now develop and communicate complete collections at a scale that was previously impossible. The future is hybrid — and the critical human filter is what makes it worth anything.

The association Vox Populi and ultra-fast fashion brand Shein are partnering to create 'Future Fashion Talents', a scholarship designed to help young French people in precarious financial situations fund their studies at fashion schools.

After launching Pop’Skills, a fashion programme for young people from disadvantaged neighbourhoods, the association Vox Populi* and ultra-fast fashion brand Shein are offering 'Future Fashion Talents'. This scholarship is for young people wishing to pursue training at a fashion school for the 2026-2027 academic year. Applications must be submitted before June 18, 2026.

“To build this programme, we wanted to partner with a player capable of supporting us in the scaling up we wanted to achieve,” said Edwige-Laure Mombouli, general director of Vox Populi, in the press release. “Shein's support was a natural choice. It is a major player in accessible fashion, in tune with the expectations of an entire generation.”

Objective: to promote social diversity and bring out new creators, technicians and entrepreneurs

For its first 2026-2027 intake, the scholarship plans to support fifty young talents throughout France. The scheme only covers tuition fees, which can reach up to 9,000 euros per academic year, depending on the beneficiaries' situation and the cost of their training.

Overall, this corresponds to almost full coverage in some private schools or partial coverage in the most expensive institutions.

In addition to a fragile financial situation, candidates must be between sixteen and thirty years old, reside in France and in the DROM-COMs, and be admitted to or enrolled in fashion-related courses (design, technical trades, management or marketing).

Applications will be evaluated according to several criteria: social situation; creative potential; motivation; academic background; and the coherence of the professional project.

Shein's funding of fashion school tuition fees likely to cause a reaction

This initiative is reminiscent of the controversy surrounding a partnership between the Fashion Institute of Design & Merchandising and the ultra-fast fashion giant, as reported by The Guardian in 2023. The programme included twelve scholarships of 40,000 dollars for fashion students. In exchange, beneficiaries could also be asked to create pieces for the platform.

The initiative sparked strong protest within the school. One student denounced the partnership, deeming it contradictory to the institution's stated sustainability commitments. A petition subsequently gathered more than 4,500 signatures. The school defended the exchange, highlighting the high cost of studies and the lack of available funding for students.

It now remains to be seen how French fashion schools will position themselves.

*Vox Populi: Vox Populi is a non-profit organisation founded in 1999. It is committed to supporting young people from modest backgrounds, working-class neighbourhoods and rural areas through mentoring, training and professional integration programmes.

Toronto Metropolitan University continues to expand opportunities for fashion students and alumni through runway showcases, interdisciplinary collaborations and industry-facing projects that bridge education with professional practice.

Recent initiatives from TMU’s School of Fashion highlight how fashion education is increasingly centred on experiential learning, creative entrepreneurship and public visibility for emerging talent.

Runway experiences as professional training

One of the university’s key educational initiatives is FSN 706: Fashion Event Planning, an immersive course in which students collaboratively produce a live runway presentation within a condensed academic timeline. The course culminated in a professional showcase at Fashion Art Toronto, where students presented collections to both industry professionals and public audiences.

Students participating in the project took on roles spanning production, creative direction, branding and event management, reflecting the increasingly multidisciplinary nature of fashion careers. Faculty described the course as a way to prepare students for the realities of fashion production by combining collaboration, deadlines and live public presentation into a single educational experience.

Supporting emerging designers through public platforms

TMU’s annual end-of-year showcase, Mass Exodus, has also become a major platform for graduating students. The 2025 edition featured more than 60 collections and over 40 exhibition projects, drawing hundreds of attendees and highlighting the diversity of student work emerging from the programme.

The showcase included runway presentations, exhibitions and student-led production teams, giving participants experience not only in design but also in communications, sponsorship, curation and event coordination. The event reflects broader changes within fashion education, where schools increasingly emphasise industry simulation and collaborative learning environments.

Expanding definitions of fashion careers

TMU’s School of Fashion also continues to highlight the varied career pathways available to graduates, including entrepreneurship, sustainability, styling, merchandising, Indigenous design, visual communication and fashion technology.

Alumni featured by the institution include designers, business founders, sustainability advocates and creative professionals working across fashion, media and cultural industries, demonstrating how contemporary fashion education increasingly extends beyond traditional runway-focused careers.

The university has also integrated sustainability and social impact into many of its recent projects and collaborations. Programmes such as Fashion X LANDMADE connect students with local fibre farmers and makers to explore sustainable production methods, while other initiatives spotlight work by queer, Black, Indigenous and racialised designers.

These projects reflect broader shifts across fashion education internationally, where schools are responding to industry demand for more inclusive, environmentally conscious and socially engaged approaches to design and fashion business.

As TMU continues developing partnerships, live showcases and interdisciplinary programmes, its School of Fashion illustrates how universities are increasingly positioning fashion education as a combination of creative practice, professional training and cultural leadership.

Akriti Awatwani is a fashion designer from India who recently completed her Master's in Fashion Designing and Technology at Istituto Marangoni, Milan. Her practice is defined by a commitment to pushing fashion beyond traditional boundaries — through structure, emotion, and digital creativity. Her collections are built on minimal yet experimental silhouettes, where construction, space, and storytelling are not supporting elements but central to the design itself.

For her Design Forward 26 submission, Akriti used The Fabricant platform to digitally create and develop her collection. The platform gave her the freedom to experiment with silhouettes, materials, and overall visualisation without being constrained by the limitations of physical production at the concept stage. The creative flexibility it offered allowed her to push ideas further and explore directions that physical sampling would have made impractical.

Akriti sees AI as a tool that opens up an entirely new way of thinking and making. It allows her to visualise ideas faster and experiment more freely — while keeping her own creative direction firmly at the centre of the process. She is particularly drawn to AI's potential to reduce unnecessary pre-production and sampling, envisioning a future where design development happens digitally before any physical pieces are made. For her own brand, this represents a meaningful path toward a more sustainable and intentional approach to fashion.

Looking to the future, Akriti believes AI will become an integral part of fashion — especially in concept development, visualisation, and experimentation — enabling designers to explore ideas that were previously out of reach. But she is clear on one point: creativity and emotional intelligence will always come from the designer. AI, in her view, is a collaborator — one that amplifies human vision rather than replacing it.

LIM College used its 2026 commencement ceremony to emphasise the evolving role of education in preparing students for a fashion industry increasingly shaped by technology, globalisation and changing career pathways.

Speakers throughout the ceremony focused on adaptability, creativity and human-centred leadership as essential qualities for graduates entering a rapidly transforming fashion and lifestyle sector.

Preparing students for a changing industry

During the ceremony, LIM College President Ron Marshall told graduates they are entering an industry where “old playbooks are no longer relevant” and career paths are becoming less predictable. He stressed that while artificial intelligence and data continue to reshape fashion and retail, interpersonal skills and critical thinking remain central to long-term success.

Marshall highlighted that fashion education today must extend beyond technical knowledge, encouraging students to combine creativity with communication, accountability and adaptability. He described these skills as increasingly valuable in a business environment where automation and digital systems continue to expand.

Education grounded in professional practice

The commencement also reflected LIM College’s broader educational philosophy of combining classroom learning with practical industry exposure. The institution, founded in 1939, positions itself around the “business of fashion and lifestyle,” with programmes built around internships and experiential learning.

This approach mirrors wider shifts across fashion education, where universities are placing greater emphasis on employability, industry partnerships and real-world professional preparation alongside creative development.

Graduates from LIM College frequently move into roles across fashion retail, luxury, beauty, technology and merchandising, reflecting the increasingly interdisciplinary nature of fashion careers.

Mentorship, networking and lifelong learning

Commencement speaker and industry executive Elyce Arons encouraged students to view networking as relationship-building rather than transactional career advancement, advising graduates to stay curious, take risks and remain open to unfamiliar opportunities early in their careers.

The remarks aligned with a broader trend within fashion education that increasingly values mentorship, collaboration and professional resilience alongside technical design or business training.

A broader vision of fashion education

The ceremony also recognised faculty achievement and global student representation, with graduates and speakers representing locations including India, Brazil and the United States.

As fashion education institutions continue adapting to technological disruption and changing workforce expectations, the themes highlighted at LIM College’s 2026 commencement suggest that schools are increasingly positioning creativity, communication and ethical leadership as core components of preparing the next generation of fashion professionals.

Graduate Fashion Week has unveiled new details for its 2026 edition, placing a strong emphasis on career development, interdisciplinary collaboration and visibility for emerging designers from across the UK’s leading fashion universities.

At the centre of this year’s programme is Talent of Tomorrow, an editorial project created in collaboration with Cold Magazine. Shot in April 2026, the initiative brought together graduating students to style and photograph their final collections, offering an early preview of work set to appear on the Graduate Fashion Week runway.

Spotlight on fashion education across the UK

The project features students from institutions including Leeds Arts University, Kingston University, Manchester Metropolitan University, Nottingham Trent University, University of the West of England Bristol, Northumbria University and Coventry University, reflecting the breadth of fashion education across the country.

By showcasing final-year work in a professional editorial setting, the initiative gives students practical exposure to image-making, styling and branding—skills increasingly viewed as essential within contemporary fashion careers.

Beyond the runway

Graduate Fashion Week 2026 will also feature a Live Talk Space hosting industry panels, interviews and keynote sessions focused on current trends, innovation and the changing structure of the global fashion industry. Organisers say the talks are designed to connect students directly with professionals working across design, media, sustainability and business.

Meanwhile, the Careers Quarter will focus on employability and networking, creating opportunities for graduates to engage with recruiters, brands and industry mentors. As competition for entry-level roles intensifies, initiatives like these are becoming increasingly important in helping students transition from education into professional practice.

Experiential learning and industry preparation

Alongside catwalk presentations and exhibitions, the event’s awards programme will recognise achievement in areas including sustainability, craftsmanship and innovation—highlighting the wider shift in fashion education toward socially and environmentally conscious design practices.

Graduate Fashion Week continues to function not only as a showcase for creative talent, but also as a bridge between higher education and industry. By integrating exhibitions, talks, networking and professional recognition, the event reflects how fashion education is increasingly focused on preparing students for the realities of a rapidly evolving global sector.

As universities adapt curricula to include entrepreneurship, sustainability and digital communication, platforms such as Graduate Fashion Week are becoming central to how emerging designers build visibility, industry connections and career readiness before entering the professional world.

A new clothing repair school Ecole de la Réparation in Roubaix is helping revive traditional garment repair skills while responding to growing demand for sustainability-focused fashion education.

Located in what was once France’s textile manufacturing capital, the initiative focuses on teaching repair, alteration and garment restoration techniques as part of a broader effort to extend the life cycle of clothing and reduce textile waste. The programme reflects a wider shift within fashion education toward circular design practices and practical sustainability training, according to the school's website.

Repair skills returning to fashion education

For decades, many fashion programmes prioritised garment creation and trend development over repair and maintenance skills. However, as concerns about overproduction and textile waste intensify, educators and industry organisations are increasingly reintroducing repair-based learning into fashion curricula.

The school in Roubaix positions repair not only as a technical skill, but also as a cultural and environmental practice. Students learn how to restore damaged garments, understand textile construction and work with existing materials rather than relying solely on new production.

This approach aligns with broader European conversations around circular fashion, where extending product longevity is seen as essential to reducing the environmental impact of the apparel industry.

Connecting heritage and future fashion practice

Roubaix’s history as a textile hub gives the initiative additional cultural significance. Once home to a thriving manufacturing industry, the city has increasingly repositioned itself around creative industries, design education and textile innovation.

By teaching repair and restoration techniques, the programme also helps preserve artisanal knowledge that risks disappearing as fast-fashion production models dominate the global market.

Educators involved in the initiative argue that future designers need a deeper understanding of materials, garment durability and maintenance in order to create more responsible fashion systems.

Sustainability through practical learning

The school exemplifies a growing educational trend that merges sustainability theory with practical repair and making. Rather than a separate subject, sustainability is integrated into technical training and studio work. Examples include a Circular Product Design Course focused on redesigning household items for longevity and repairability, a Textile Repurposing Workshop teaching advanced mending to upcycle garments, and Renewable Energy Systems Training which covers ethical material sourcing and disposal alongside installation and maintenance.

As governments, brands and consumers place greater emphasis on circular economy principles, repair education is becoming an increasingly important part of preparing future fashion professionals for evolving industry expectations.

The Roubaix initiative demonstrates how fashion education is expanding beyond design and production to include restoration, reuse and long-term product stewardship—skills that many educators now view as essential for the next generation of designers and makers.

Barbie is partnering with Arizona State University FIDM to launch a new series of summer fashion camps designed to introduce young students to fashion design, creativity and career pathways within the industry.

The programme, announced for summer 2026, reflects growing interest in expanding fashion education beyond higher education settings by engaging students earlier through hands-on creative learning experiences.

Introducing younger students to fashion careers

The camps are designed for middle and high school students and will focus on fashion illustration, styling, textile exploration and design thinking. According to organisers, the initiative aims to encourage creativity while also exposing participants to the broader possibilities of working in fashion and related creative industries.

By partnering with Barbie, the programme also taps into the brand’s long-standing connection to fashion and imaginative play, using it as an entry point for education and self-expression.

Expanding access to fashion education

The collaboration highlights how universities and brands are increasingly working together to make fashion education more accessible and experiential. Summer programmes and pre-college initiatives have become an important recruitment and outreach tool for fashion schools, helping students gain early exposure to design disciplines before entering university-level study.

For institutions such as ASU FIDM, these initiatives also create opportunities to diversify participation in fashion education and introduce students from different backgrounds to creative careers they may not have previously considered.

Blending industry and education

The partnership reflects a broader trend across fashion education toward industry collaboration and experiential learning. Rather than focusing solely on classroom instruction, programmes increasingly incorporate workshops, mentorship and brand engagement to connect education with real-world creative industries.

As fashion schools continue adapting to changing student expectations and industry demands, initiatives like the Barbie and ASU FIDM camps demonstrate how educational institutions are using popular culture and brand partnerships to inspire the next generation of designers, stylists and creative professionals.

Students from Cleveland’s public arts education programmes recently presented original fashion collections in a runway showcase highlighting the role of creative education in developing future designers and artists.

The event brought together students from the Cleveland Metropolitan School District and Cleveland School of the Arts, giving young creatives the opportunity to transform sketches and classroom concepts into finished runway garments.

Fashion education through hands-on experience

The showcase demonstrated how fashion education at secondary-school level increasingly combines artistic development with practical industry skills. Students participated in multiple stages of the design process, including concept development, illustration, garment construction and runway presentation.

Educators involved in the programme described the experience as an opportunity for students to build confidence, creative discipline and professional exposure while learning how fashion operates beyond the classroom.

Runway events and public showcases have become an important educational tool for many fashion programmes, allowing students to experience deadlines, collaboration and presentation skills that mirror industry practice.

Building pathways into creative careers

For many participating students, the programme also offered early exposure to potential careers in fashion, costume design, styling and creative industries. Arts-focused secondary education programmes increasingly serve as entry points into higher education pathways in fashion and design.

Teachers and programme organisers noted that access to creative education can be particularly important in helping students explore professional opportunities that may otherwise feel inaccessible.

By encouraging students to present original ideas publicly, the initiative also reinforces the growing emphasis on entrepreneurship, storytelling and personal identity within contemporary fashion education.

Supporting the next generation of designers

The Cleveland showcase reflects broader efforts across the United States to strengthen arts and fashion education through community partnerships, student exhibitions and experiential learning opportunities.

As fashion schools and industry organisations continue to advocate for more inclusive and accessible creative education, youth programmes like this are helping introduce students to both the artistic and technical foundations of fashion design at an earlier stage.

The event ultimately highlighted how fashion education can function not only as artistic expression, but also as a platform for skill-building, self-confidence and future career development.

Tiia Maria Jaakkola is a Finnish fashion designer based in Denmark, holding a BA from VIA University College (2017) and an MA from Design School Kolding (2023). Her master's thesis, Designing for Circular Fashion by Integrating Upcycling and Digital Tools, established her as a designer whose practice sits at the intersection of craft, sustainability, and emerging technology. With a prior background in business, she brings industry fluency alongside a deeply conceptual, design-led approach.

For her Design Forward 26 submission, Tiia worked exclusively with The Fabricant's AI Design Tools — using text-to-image generation and image-plus-prompt workflows to develop a craft-based mini-collection. Her goal was deliberate: to test whether she could maintain strong authorship and a distinct design identity while working with AI as a creative partner. The result exceeded her expectations.

For Tiia, AI is not simply a productivity tool — it is a transformative force that demands critical responsibility. She argues that advancing with AI must go hand in hand with reconnecting to embodied craftsmanship: without a deep understanding of materials and construction, AI risks becoming a shortcut rather than a meaningful extension of design thinking. She sees the current moment as a dual movement — forward into new technologies, and backward into traditional knowledge.

Looking ahead, Tiia is most hopeful about AI's potential to reduce sample waste and shift the industry away from overproduction toward designing for real needs. She sees AI as a tool that sharpens the iterative design process and enables rapid detail-level development — but only in the hands of designers who are strategic, precise, and rooted in craft. For Tiia, fashion is a platform for sustainability, ethics, and activism — and AI, used responsibly, can strengthen that platform rather than undermine it.

Scotland-based designer Olumide Emmanuel Faleti runs Minuel Designs UK Ltd, a multidisciplinary practice combining leathercraft, footwear design, and community-focused creative education. His brand creates handcrafted leather goods and footwear, merging artisan techniques with contemporary aesthetics and cultural storytelling, reflecting a move to preserve traditional craftsmanship.

Faleti also leads workshops and community initiatives to support emerging creatives and promote hands-on skills, addressing concerns about the decline of artisanal techniques in fashion education. His work combines creative practice with educational engagement, aligning with industry efforts to reconnect young designers with material understanding and sustainable production.

His background includes work in the specialist footwear and orthotics sector in Glasgow, highlighting the interdisciplinary nature of footwear design, which increasingly emphasizes combining aesthetics with functionality.

Faleti has presented his work at events like Africa Fashion Week London, showcasing craftsmanship and cultural identity. His practice reflects the contribution of African and diaspora creatives to the UK fashion landscape, particularly in handmade production and independent design.

As industry focuses on sustainability, craftsmanship preservation, and inclusive representation, designers like Faleti, who bridge creative practice and community engagement, play a growing role in shaping future fashion and footwear design education.

Redress has announced the semi-finalists for the 2026 edition of the Redress Design Award, highlighting emerging talent focused on circular and sustainable fashion practices.

Among the 16 semi-finalists selected from applicants across 59 regions are UK-based designers Alexandra Burch and Holly Shih, reflecting the growing role of British fashion education in sustainability-driven design innovation.

Widely regarded as one of the fashion industry’s leading competitions dedicated to sustainable design, the Redress Design Award challenges emerging designers to rethink conventional production models through circularity, waste reduction and responsible material use.

Sustainability becoming central to fashion education

The competition arrives at a time when sustainability is increasingly embedded within fashion school curricula worldwide. With textile waste projected to rise significantly by 2030, educational institutions are under growing pressure to prepare students to work within more environmentally responsible systems.

Competitions such as Redress provide students and recent graduates with opportunities to apply sustainability principles in practical, industry-facing contexts. Participants are evaluated not only on creativity, but also on material sourcing, waste reduction strategies and long-term environmental impact.

International exposure for emerging designers

Eight finalists will be selected from the semi-finalists to participate in an educational trip to Hong Kong and present their collections at Centerstage during Hong Kong Fashion Fest. The programme combines mentorship, international exposure and professional development, helping bridge the gap between education and industry.

The judging panel includes prominent figures from sustainable fashion and design, among them Orsola de Castro, Redress founder Christina Dean, Rod Henderson and designer Angus Tsui.

Education, collaboration and circular thinking

Redress noted that the competition has grown into a global educational platform, with an alumni network of more than 350 designers. Former participants have gone on to work across luxury fashion, costume design and sustainable innovation, including projects involving major international artists and brands.

The inclusion of applicants from 59 regions, including the competition’s first-ever applicant from Syria, also reflects the increasingly global nature of sustainable fashion education and the expanding accessibility of international design platforms.

As sustainability becomes a defining issue for the fashion industry, initiatives like the Redress Design Award continue to highlight how education, mentorship and cross-border collaboration are shaping the next generation of designers.

The Fabricant has announced the winners of Design Forward 2026, an international competition for emerging designers in the fashion industry who work with AI design tools. The 2026 edition marked the competition's debut. An international jury selected ten winners from a pool of 15 finalists.

First prize was awarded to Reborn Myths by Tiia Jaakkola of Kolding School of Design in Denmark. The collection combines post-consumer denim waste with Finnish folklore and contemporary streetwear.

Second place went to Invisible Architecture by Akriti Awatwani of Instituto Marangoni in Italy.

Andre Fonseca Vieira of the University of Lisbon finished third with the collection “Streetwear Preppy”.

The winner of Design Forward 2026 will receive six months of free access to The Fabricant's platform and an interview in the Digital Weave videocast. They will also get a mention on the company's social media channels and a certificate of participation. The second and third place winners will receive three and one month of free access to the platform, respectively. The top ten finalists will also each receive 150 credits for The Fabricant's platform.

Submissions from 21 countries

Designers from 21 countries and 45 design schools worldwide participated in the competition. Finalists came from countries including Denmark, Italy, Portugal, the Netherlands, Brazil, India and Malaysia.

Adriana Pereira, co-founder of The Fabricant, stated that the competition demonstrates how AI provides designers worldwide with access to the same creative tools, irrespective of their location.

AI as a tool, not a replacement

The role of AI was a central theme during the judging process, questioning whether technology primarily serves to generate new ideas or to innovate existing concepts. The jury found that the most successful submissions were those where the designer's personal signature remained visible, with AI employed as a supportive tool.

The jury included representatives from The Fabricant, Vice Media, Bestseller, Fashion for Good, Vivienne Westwood and FashionUnited.

Buenos Aires - As fashion students approach graduation, one question becomes central: how to translate years of creative work into a portfolio that opens doors.

In today’s fast-evolving industry, where creativity alone is no longer sufficient, the portfolio has become more than a showcase—it is a strategic tool. It communicates not only what a candidate can do, but how they think, adapt, and position themselves within a changing market.

For Istituto Marangoni course leader Gloria Bellardi, who has reviewed portfolios across Europe, Asia, and the Middle East, the gap between education and industry is where many young talents struggle most. “There is this gap in between the moment when the student is approaching the market… where they need support to create their DNA, their aesthetic and to communicate it in the right way”, she explained during an interview with FashionUnited.

From fashion school to industry: What brands look for in portfolios today

From creativity to strategy

While individuality remains essential, Bellardi emphasizes that what brands expect today goes beyond talent: “Creativity is not enough, definitely not.”

According to her, the key shift lies in how candidates connect their creative vision with the realities of the market. In a fast-paced, constantly evolving industry, portfolios are now read as indicators of openness. “They need to see adaptability to new systems, to new technologies, to new challenges”, she says.

The first 30 seconds: what really matters

In an increasingly competitive landscape, first impressions are decisive. When reviewing a portfolio, Bellardi looks beyond aesthetics. “I look for cleanliness and organization… I look for relevant references, meaningful images.”

But more importantly, she looks for evidence of thinking. “You give an idea of yourself about how much you are a deep thinker.” That’s where the distinction between academic and professional becomes clear. “You look professional when you show that you think about the audience. Because in the end, fashion is art, but it is a business.”

Digital vs. physical: a dual approach

While digital portfolios have become essential — especially through links, QR codes and online platforms — physical portfolios still hold strong value within the fashion industry, particularly in the luxury and couture sectors. According to Gloria Bellardi, “digital portfolio is mandatory”, but brands continue to value manual skills and tangible creative development. “Even in Marangoni, we still do the research all in the paper,” she explains, emphasizing the importance of developing ideas “with the scissors, with the glue” before translating them into digital formats.

“I believe it is important to have your portfolio in a physical version, especially when you go in person to companies,” Bellardi says. “Today, it has a big value.” According to her, physical portfolios allow students to demonstrate not only their digital skills and ability to use software or AI tools, but also craftsmanship and creative processes that “very few people still know how to do.”

The role of technology and its risks

The rise of AI and digital tools has transformed how portfolios are built, but not always for the better.

Bellardi warns about the indiscriminate use of artificial intelligence in portfolio creation. “If you don't know how to use it, you risk creating something flat… equal to everybody else,” she says. In her view, AI can be a useful tool, but it may also lead to homogenized work that lacks personal identity and creative depth. For her, students who can combine handcrafted skills with digital expertise will ultimately stand out: “someone that knows how to do everything by hand can do the digital rather than the opposite.”

One portfolio doesn’t fit all

Another critical mistake is using the same portfolio for every opportunity. Bellardi recommends building a strong foundation and adapting it strategically: “I think it’s important to tailor the portfolio.” “Build a base and then organize your portfolio based on the brand’s DNA and on the brand’s needs,” she suggests.

This level of customization signals not only professionalism, but also a genuine interest in the role.

Can a portfolio replace experience?

For recent graduates, a lack of experience is inevitable — but not necessarily a disadvantage. Bellardi believes that “if you have a good portfolio, definitely it can help you to start your career.” In many cases, the portfolio becomes the primary entry point into the industry.

To strengthen it, she encourages students to actively seek opportunities beyond the classroom. “I recommend students do a lot of contests, that way you show you are very proactive and you put yourself in the challenge”, she says.

Common mistakes that can cost opportunities

One of the most common mistakes students make is trying to include everything they have ever created in a single portfolio. According to Bellardi, “the portfolio is not the summary of your work.” Instead, it should function as a carefully curated selection of the strongest projects and skills. “Just put the things you're good at and you are proud to show,” she says.

For Bellardi, strong editing and self-awareness are essential when building a portfolio. Rather than showcasing every technical ability, students should focus on the areas where they truly stand out, whether that is 3D software, pattern making or conceptual development. “Good selection of your project makes the portfolio valuable,” she explains.

Beyond aesthetics and technical execution, she insists that what “cannot really be missed is the creative thinking process.” A successful portfolio should reveal not only skills, but also “identity and individuality and adaptability” — qualities that increasingly define young creatives entering the fashion industry.

What defines a strong portfolio today

If distilled into key elements, Bellardi summarizes it in three words: “Cleanliness, creative research, and strong identity.” In an industry where expectations continue to evolve, the ability to combine creativity, strategy, and adaptability is what ultimately turns a portfolio into a career opportunity.

ArtEZ University of the Arts professor Jeroen Lutters will retire on June 12 after twelve years leading research and discussion around art education, creative learning and the role of imagination in teaching future artists and designers.

The farewell event, taking place at ArtEZ in Arnhem, will also mark the presentation of three new publications exploring art, education and human development. Throughout his academic career, Lutters became known for advancing concepts such as “art-based learning,” the “artist educator,” and alternative approaches to higher education that position creativity as central to learning rather than supplementary to it.

Rethinking how artists and designers are educated

During his time at ArtEZ, Lutters argued that art should function as a foundation for education itself, influencing how students think, collaborate and engage with society. Through the Art Education as Critical Tactics (AeCT) research group, he contributed to discussions about how arts education can move beyond technical training to include reflection, experimentation and social engagement.

His work has influenced both Dutch and international conversations around creative education, particularly at a time when many art and fashion schools are reconsidering how to prepare students for rapidly changing cultural and professional environments.

Publications focused on learning through art

Among the new books presented at the farewell is Art-Based (Un)Learning. Unexpected Dialogues with Artworks, a collection examining how art can generate knowledge and alternative forms of learning by challenging traditional educational structures.

Another publication, The Poetry of Existence. Past Passages, explores the role of artistic thinking and meaning-making in contemporary society, while Rothko in St Ives reflects on personal experience, visual culture and mortality through the work of artist Mark Rothko.

Together, the books continue themes central to Lutters’ academic work: creativity, critical inquiry and the relationship between art and lived experience.

Influence on future creative education

Lutters’ departure comes at a moment when art, design and fashion education institutions are increasingly focused on interdisciplinary learning, emotional intelligence and socially engaged practice. His emphasis on imagination and encounter reflects broader shifts within creative education, where students are encouraged to combine technical skills with critical and cultural awareness.

Although retiring from his formal role, Lutters said he intends to continue researching and writing during what he describes as a “third phase of life,” focusing on reflection, family and future publications.

His legacy at ArtEZ remains closely tied to the idea that education for future artists and designers should not only teach professional skills, but also foster new ways of understanding creativity, society and human connection.

Kent State University Museum will present a new installation titled Ohioans in Space: The Carl E. Walz Spacesuit from the Kent State University Museum at the Ohio Statehouse beginning May 19, highlighting the intersection of fashion, science and public history.

The exhibition centres on a spacesuit worn aboard the International Space Station by NASA astronaut Carl E. Walz, a graduate of Kent State University. Designed to counteract the physical effects of weightlessness, the garment uses elastic tension systems to simulate gravity and support muscle and bone strength during long-duration missions. Walz wore the suit during a six-month stay aboard the ISS between 2001 and 2002.

For fashion educators, the installation reflects the expanding role of dress and textile collections in interdisciplinary learning. According to museum director Sarah Spinner Liska, the exhibition demonstrates how garments can communicate broader narratives about innovation, history and cultural achievement.

The installation also positions fashion objects within a wider context of science and exploration. Alongside the spacesuit, visitors will view imagery from the James Webb Space Telescope provided by COSI, linking material culture with aerospace research and visual storytelling.

Organisers say the exhibition is intended to highlight Ohio’s historical connections to aviation and space exploration, referencing figures such as the Wright brothers and astronaut John Glenn. The project also reflects a broader trend among museums and universities toward cross-disciplinary collaboration that connects fashion, technology and public engagement.

The Kent State University Museum, which houses more than 30,000 objects spanning fashion, textiles and decorative arts, received reaccreditation from the American Alliance of Museums in 2025.

ESSDM Sevilla de Moda has announced the launch of a new postgraduate programme focused on haute couture techniques, expanding its role in specialised fashion education through the Cátedra de Moda Andaluza.

The new Master’s programme, titled Máster en Técnicas de Alta Costura: Artesanía y Moda de Autor, will begin in October 2026 and aims to combine advanced technical training with the preservation of traditional craftsmanship. According to the school, the course is designed to support both creative development and the internationalisation of Andalusian fashion design.

The academic team includes designers Manuel Amador and Adrián Castillo as lead instructors, alongside a series of masterclasses delivered by established figures in Spanish fashion including Nicolás Montenegro, Fernando Claro, Antonio García, Inma Linares, José Hidalgo and Manolo Giraldo.

Course modules will cover haute couture pattern cutting and draping, artisanal embroidery and luxury fabric manipulation, bespoke tailoring techniques, and atelier management. Organisers say the curriculum is intended to strengthen technical expertise while maintaining traditional methods of garment construction and craftsmanship.

The programme forms part of a broader strategy launched through the Cátedra de Moda Andaluza in 2024, which focuses on research, innovation and international collaboration within fashion education. ESSDM stated that more than 500 students from different countries have already participated in related initiatives, contributing to Seville’s positioning as a centre for author-led and artisanal fashion training.

For fashion educators, the programme reflects growing interest in combining heritage craft skills with contemporary luxury market knowledge, particularly as institutions seek to balance cultural preservation with evolving industry demands.

At a time when the UK is increasingly focusing on creative education to meet the growing demand for skills in the cultural and creative industries, NABA, Nuova Accademia di Belle Arti, announces the appointment of Diego Mattiolo as School Director and Head of Education of its new London campus, with courses starting in the 2026/2027 Academic Year.

The UK continues to confirm its position as one of the world’s leading destinations for higher education, attracting 685,565 international students in the 2024/25 academic year, with London standing out as a global hub where international students make up around 24% of the total student population, and Asia remaining the largest source region . Academic institutions and industry alike are now called upon to develop educational models capable of bridging the gap between theoretical learning and applied skills. This move represents a strategic step in the evolution of NABA’s educational model, an extension of a well-established approach that enables the Academy to position itself within an ideal environment to nurture new talent and contribute to the development of contemporary creativity, in line with its purpose: Through Artistic Intelligence we nurture people to design a new tomorrow. Building on the experience and heritage of its Milan and Rome campuses, NABA brings to London a distinctive element: Italian know-how, globally recognised in the fields of design, fashion and visual arts. Not only as cultural heritage, but as a design-driven approach that integrates research, experimentation and making. This competitive advantage translates into an educational model that combines creative vision with practical application, particularly relevant in a market such as the UK, which is strongly focused on graduate employability. This excellence has been recently recognised by the QS World University Rankings® by Subject Art & Design 2026, where NABA entered the Top 50 for the first time, ranking 41st globally and confirming its position as the leading Italian Academy of Fine Arts in the field.

Diego Mattiolo, School Director and Head of Education at NABA London, commented: “At a time when the creative sector requires increasingly integrated skill sets, taking on this role represents a significant opportunity to contribute to the development of NABA’s London campus within one of the most dynamic and stimulating contexts for creativity and artistic professions. Our goal is to build an international learning environment, enriched by the care and craftsmanship typical of Italian expertise—an inclusive, project-driven approach. We position ourselves as a new, student-focused offering, capable of connecting students directly with the professional world, nurturing their talent and preparing them to face continuously evolving challenges.”

An international profile leading the London campus

With over ten years of international experience in academic management, Diego Mattiolo brings to NABA strong expertise in leading multicultural teams and developing dynamic, student-centred learning environments. In his previous role as School Director at EF International Language Campuses in London, he successfully led key growth initiatives, helping to maintain high teaching standards and deliver distinctive educational experiences. His appointment is a key factor in positioning the new London campus: his strong roots in the UK context, combined with a global vision of education, will be instrumental in enhancing NABA’s identity and effectively adapting its educational model to the needs of an international audience.

Learning by doing and qualified education in dialogue with industry

From September 2026, the campus will offer Bachelor’s degrees in Design, Fashion Design and Fashion Marketing Management. Small class sizes (lab practical classes up to 28 students, theoretical classes up to 40 students) enable direct and continuous interaction with faculty, supporting a highly personalised approach, a true “white-glove” education focused on individual development and the exploration of each student’s creative talent. Alongside theoretical learning, hands-on experience plays a central role in developing practical skills for real-world application through the Design Lab, Fashion Design Lab and Textile & Knitwear Lab.

These spaces allow students to engage with leading industry players, work on real briefs and gain insight into professional methodologies and dynamics. The academic offering is defined by an interdisciplinary, project-based approach, built around the “learning by doing” model. Within the London landscape, this also translates into an accessible and merit-driven education, with scholarships of up to £7,000 depending on the eligibility round and awarded to students who demonstrate commitment and talent. The scholarship is awarded as a tuition fee reduction for the first year of study. It will be continued into the second and third years of the programme, subject to the recipient meeting the required academic progression and performance criteria set by the Academy.

London and Here East: a strategic hub for education, innovation and creativity

NABA’s London campus is located within Here East, an innovation hub home to over 6,500 professionals, tech companies, startups and creative institutions. More than just a campus, Here East is an ecosystem where education, industry and research coexist. For students, this means direct access to an international network and tangible opportunities to engage with the professional world—transforming their academic journey into an immersive, real-world experience. Organisations based within the hub include Liverpool Media Academy, Studio Wayne McGregor, Sports Interactive and The Trampery on the Gantry.In particular, the proximity to the V&A East Storehouse will offer students the opportunity to access collections, interact with artworks and explore curatorial and research practices, strengthening the connection between education and the cultural sector.

New programmes and pathways for an international audience

Completing the London campus offering, the Academy introduces new programmes designed for those approaching creative education. The Integrated Foundation Programme will include a one-week experience at the Rome campus, giving students the opportunity to immerse themselves in the Italian cultural context through academic workshops, events and local activities, strengthening the link with Made in Italy while broadening their global perspective.

Studying at NABA also means joining an international community of over 6,000 students from more than 100 countries. From summer 2027, the London campus will expand its offer with Summer Courses – English Art Summer Camps: a month-long programme combining English language learning with artistic and design activities, integrating classroom lessons with hands-on experiences and urban exploration. Additional services include Career Service, visa support and counselling. Upon completion of the Bachelor’s programmes, students will be awarded a BA (Hons) Degree accredited by Regent’s University London.

Sustainability and innovation as educational drivers

NABA’s London campus has been designed as a highly innovative space, with a strong focus on digital technologies and sustainability, in line with the Academy’s manifesto. Sustainability is an integral part of both the learning experience and the educational model: through concrete projects, students are encouraged to engage with contemporary environmental challenges, developing a responsible, future-oriented mindset focused on circular economy principles, waste reduction and the responsible use of resources. This commitment is also reflected in campus operations, with over 50% of energy sourced from renewables, alongside energy-saving and recycling solutions, and in an inclusive approach that promotes accessibility, participation and the value of diversity.

The global football merchandise market is projected to see significant growth between 2025 and 2035, driven by major sportswear companies including Adidas, Nike and Puma. The expansion is being fuelled by digital retail innovation, global fan engagement and the increasing commercialisation of sports culture.

While the report focuses on market performance, it also highlights important implications for fashion and retail education, particularly in how future professionals are trained for a rapidly evolving industry.

Blurring lines between fashion, sport and technology

Football merchandise has evolved beyond traditional kits and fanwear into a broader lifestyle category, combining performance design, streetwear aesthetics and digital commerce strategies. This shift is reshaping the skills required of designers and merchandisers, who must now understand branding, consumer behaviour and omnichannel retail.

For fashion education, this means greater emphasis on interdisciplinary learning—where students are trained not only in design, but also in areas such as data-driven marketing, e-commerce platforms and global supply chains.

Digital retail reshaping curricula

The growth of online retail and direct-to-consumer strategies is a key driver of the market. As brands expand their digital ecosystems, future designers and fashion business graduates are expected to be fluent in digital tools, virtual merchandising and customer experience design.

Educational institutions are increasingly integrating these elements into curricula, reflecting the need for graduates who can operate across both physical and digital retail environments.

Industry partnerships and career pathways

With major brands leading innovation in football merchandise, there is growing potential for collaboration between industry and education. Internships, live projects and sponsored programmes are becoming essential in preparing students for careers that sit at the intersection of fashion, sport and technology.

The sector’s growth also opens new career pathways—not only in design, but in product development, licensing, sustainability and global brand management.

Preparing future talent

As the football merchandise market continues to expand globally, it underscores a broader transformation within fashion education. Training future designers now requires a more holistic approach—one that combines creativity with commercial awareness, digital expertise and an understanding of global fan-driven markets.

Amsterdam-based fashion label Martan has been named the grand winner of the Visa Young Creators: Recycle the Runway programme by Global Fashion Agenda (GFA) and Visa, according to a press release. GFA is a non-profit organisation focused on making the fashion industry more sustainable. The announcement was made during the Global Fashion Summit: Copenhagen Edition 2026 in Copenhagen.

The fashion brand was selected from a group of emerging designers working with circular business models within the fashion industry. Martan focuses on reusing discarded hotel linen for high-end ready-to-wear collections.

Focus on circular production

According to the press release, Martan's production process includes sorting, dyeing and customising existing textiles. The organisers stated that the brand was selected based on its combination of design quality, a circular business model and the potential to scale the concept further.

As the winner, Martan will receive 20,000 euros for further investment in the company, supplemented by coaching, guidance and international industry visibility. The label will also participate in a co-creation initiative by GFA, along with the four other prize winners. Within this programme, Martan will be paired with Re&Up, a company specialising in recycling textile fibres, to further develop circular design solutions from concept to final product.

The Recycle the Runway programme supports creative entrepreneurs active in circular fashion concepts such as resale; repair; rental; refilling; return systems and redistribution. The initiative aims to help develop circular ideas into scalable business models.

A professional jury, consisting of representatives from GFA, Visa Europe, Vogue, the British Fashion Council and Ebay, selected 15 winners. Five participants received a Prize Winner title and were invited to attend the Global Fashion Summit. Martan was ultimately chosen as the main winner due to its combination of design quality, its circular business model and its potential for further scaling.

GMYT Fashion Academy has inducted 21 new students into its 2026 cohort, marking a milestone in its ongoing efforts to combine fashion training with entrepreneurship education.

The induction ceremony, held on May 4, reflects the institution’s broader mission to equip young creatives with both design skills and business knowledge. According to organisers, the new intake represents a new generation of “emerging entrepreneurs” being prepared for careers that extend beyond traditional fashion roles.

Expanding fashion education beyond design

Speaking at the event, founder Princess Kelechi Oghene emphasised that the programme is designed to go “beyond the fashion industry,” encouraging students to develop entrepreneurial thinking alongside technical ability.

This approach reflects a growing shift in fashion education globally, where institutions are increasingly integrating business training, innovation and career development into their curricula. Rather than focusing solely on garment construction or aesthetics, programmes are evolving to prepare students for roles as founders, freelancers and creative entrepreneurs.

Education as a pathway to economic development

The academy positions its training as a tool for socio-economic impact, aiming to create employment opportunities and support youth empowerment through skill acquisition. The induction highlights how fashion education can function not only as creative training, but also as a driver of small business development and economic participation.

Industry speakers at the event contributed additional insights, offering guidance on career pathways and reinforcing the importance of combining creativity with practical knowledge. This type of engagement underscores the role of industry exposure within education, helping students understand real-world expectations early in their training.

Preparing future designers as entrepreneurs

By embedding entrepreneurship into its teaching model, GMYT aligns with a broader transformation in fashion education—one that recognises the need for graduates to be adaptable, commercially aware and self-sufficient.

As the fashion industry continues to evolve, initiatives like this highlight how education providers are redefining what it means to train a designer: not only as a creative professional, but as a business-minded innovator capable of building and sustaining a career in a competitive global market.

From an early career leap to New York to her role shaping future luxury leaders, Amy Johns' journey is defined by curiosity, adaptability and a deep understanding of the fashion industry today.

How did you begin your career in the industry and were there any early moments that particularly stand out to you?

I started my career in New York where I moved to complete an internship with Anna Sui before my undergraduate studies had officially ended back in the UK. Not something I would necessarily endorse but it turned out to be a fantastic experience and really ignited the beginnings of my career within luxury fashion.

That experience particularly stands out to me for reasons that many of our students can relate to. I moved to a new city to follow a dream of working in fashion and it was both terrifying and exciting at the same time. It pushed me outside of my comfort zone very early in my career and I have absolutely no regrets.

It also gave me an early insight into the energy, creativity and pace of the industry. That experience stayed with me and shaped the way I think about opportunities, risk-taking and growth.

What skills or perspectives did you develop in your career that continue to influence your work as a course leader at Vogue College?

I would say I fall into the category of a lifelong learner, perhaps a typical millennial trait but I strongly believe you can never know enough. Curiosity can take you far both professionally and personally and I think it is crucial to remain curious about your subject area, your interests and the world around you. You never know where your next opportunity might come from.

One of the most valuable skills I developed early in my career was learning Excel while working in the merchandising team at Burberry. At the time, I found it really challenging. Working with numbers was not something I naturally gravitated toward and I had not planned to develop a career in merchandising.

However, those skills have stayed with me ever since. I still use Excel daily in my current role, whether for course planning or managing projects. It also allows me to better support students who are interested in analytical roles within the industry. That experience taught me something important- the skills that challenge you the most early in your career often become the ones that shape you the most.

What excites you most about teaching the next generation of fashion and luxury professionals?

What excites me most is being part of our students’ journeys into an industry they genuinely love. Whether that is directly through teaching, mentoring or behind the scenes developing curriculum, I really enjoy seeing how students grow in confidence throughout their time with us.

It is incredibly rewarding to watch them develop their ideas, navigate challenges and ultimately feel proud of what they achieve. Supporting them as they discover what truly aligns with their own values, interests and career ambitions is something I find particularly meaningful.

It is the part of my own journey that I am eternally grateful for, the people who supported me along the way. I love being able to play that role for future luxury leaders.

What conversations or shifts in the worlds of fashion and luxury do you find compelling right now?

I’m finding the shift toward accountability around health and lifestyle particularly interesting right now. Consumers are becoming more intentional about how they live, what they buy and how luxury fits into their overall well-being. There’s a growing focus on longevity, quality and thoughtful consumption which aligns closely with luxury values.

I’m also enjoying the resurgence of heirloom accessories within styling. In many ways, these are luxury investment pieces renamed and repackaged but vintage and heritage items bring a sense of individuality and a finished feel to the ongoing minimalist luxury trend. It reflects a move toward quieter, more considered expressions of luxury.

If you could sit in on your own class as a student, what would you be most excited to explore?

If I could sit in on my own class as a student, I would be most excited to explore trend analysis. I find it fascinating to trace how cultural shifts, consumer behavior and industry changes shape the luxury landscape over time.

I particularly enjoy sessions where students develop their own perspectives and begin connecting insights across different sectors. It’s rewarding to see them build confidence in interpreting what is happening in the market and forming their own informed viewpoints. These skills are invaluable, especially in luxury, where understanding context and nuance is key to strong decision making.

How does the MA International Luxury Business program help students bridge the gap between luxury brand heritage and modern business strategy?

The MA International Luxury Business program helps students understand that heritage and innovation are not opposing forces but complementary elements of successful luxury brands. We encourage students to explore the foundations of luxury, including craftsmanship, storytelling and brand legacy while also examining how brands evolve in response to changing consumer expectations.

Through industry projects, case studies and strategic thinking exercises, students learn how to balance tradition with innovation. This prepares them to make thoughtful decisions that respect brand heritage while ensuring relevance in a modern, global luxury landscape.

If your students took just one mindset from your classroom into their careers, what would you hope it would be?

If my students took just one mindset from my classroom, I would hope it would be curiosity. The luxury industry is constantly evolving and being open to learning and exploring new ideas is essential for long-term success.

I encourage students to ask questions, challenge assumptions and remain open to different perspectives. Curiosity not only supports professional growth but also helps individuals find roles that truly align with their interests and values. It is something that has shaped my own career and I believe it is one of the most valuable qualities future luxury leaders can develop.

Study luxury through a global, strategic and cultural lens at Vogue College of Fashion

JD Institute of Fashion Technology has received accreditation from the Global Standardization and Accreditation Agency (GSAAA), a development that highlights ongoing efforts to formalise quality standards within fashion and design education.

The accreditation recognises the institute’s academic framework, curriculum structure and teaching methodologies, positioning it among institutions seeking to align creative education with global benchmarks. It also reflects a broader trend in fashion education toward increased accountability and standardisation.

Raising standards in fashion education

Accreditation from GSAAA signals that the institute meets specific criteria related to course delivery, faculty expertise and infrastructure. For students, this can translate into greater confidence in the quality of education, as well as improved recognition of qualifications in both domestic and international contexts.

The move comes at a time when fashion education is expanding rapidly, particularly in emerging markets, creating a need for clearer quality assurance frameworks. Institutions are increasingly seeking external validation to ensure their programmes remain competitive and relevant.

Aligning education with industry needs

A key focus of the accreditation process is the alignment between academic training and industry expectations. Programmes are evaluated on their ability to equip students with practical skills, technical knowledge and exposure to current trends, including digital tools and evolving design practices.

This reflects a wider shift in fashion education, where institutions are expected to prepare students not only creatively but also professionally, ensuring they can transition effectively into the workforce.

Global outlook for future designers

By obtaining international accreditation, JD Institute strengthens its position within the global education landscape, offering students pathways that extend beyond local markets. The recognition may also encourage further collaboration with international institutions and industry partners.

As the fashion sector continues to evolve, developments such as GSAAA accreditation highlight the growing importance of structured, globally recognised education systems in preparing the next generation of designers.

Kent State University’s School of Fashion has showcased a growing emphasis on inclusive design and experiential learning through its latest annual fashion show, which drew record attendance and participation.

The student-led event, one of the largest of its kind in the United States, featured collections developed by senior fashion design students as part of their academic curriculum. The show serves as a capstone project, allowing students to apply technical skills, creative concepts and industry knowledge gained throughout their studies in a real-world setting.

Education through practice

At the core of the event is a strong focus on hands-on education. Students are responsible not only for designing garments but also for production, styling and show execution, mirroring professional fashion industry processes. This approach reinforces project management, collaboration and presentation skills—key competencies for entering the workforce.

The 2026 edition placed particular emphasis on inclusive fashion, with collections designed to reflect a broader range of body types, identities and lived experiences. This aligns with wider shifts in fashion education, where diversity and representation are increasingly integrated into design curricula.

Preparing future designers

Faculty members highlighted the importance of embedding inclusivity into design training, encouraging students to consider accessibility, fit and representation from the early stages of concept development. By doing so, the programme aims to better prepare graduates for an evolving industry that demands both creativity and social awareness.

The fashion show also provides students with industry exposure, attracting recruiters, alumni and professionals who attend to identify emerging talent. For many participants, it represents a critical transition point between education and professional practice.

Reflecting changes in fashion education

The event underscores how fashion schools are adapting their teaching models to reflect current industry priorities, including inclusivity, sustainability and interdisciplinary collaboration. By combining creative exploration with practical application, Kent State’s programme demonstrates how fashion education is evolving to equip students with both technical expertise and a broader understanding of design’s social impact.

In the absence of Omaha Fashion Week, students from Metropolitan Community College (MCC) and University of Nebraska–Lincoln (UNL) are taking the lead in creating a new platform to showcase young design talent.

The upcoming runway event, organised by students and faculty, highlights how fashion education institutions are stepping in to provide real-world opportunities when traditional industry platforms are unavailable. By hosting their own showcase, the schools are ensuring that graduating designers still gain critical exposure to audiences, peers and potential employers.

Education beyond the classroom

The initiative reflects a broader shift in fashion education toward experiential learning. Students are involved in every aspect of the show—from concept development and garment creation to production and event management—mirroring professional industry environments.

For both MCC and UNL, the runway serves as an extension of the classroom, allowing students to translate technical skills and creative ideas into finished collections presented in a public setting. This hands-on approach helps bridge the gap between academic training and industry expectations.

Creating alternative pathways

With the temporary absence of Omaha Fashion Week, the student-led showcase also underscores the importance of alternative platforms within fashion education. Faculty and organisers emphasise that such initiatives are not only stopgap solutions but valuable opportunities for students to take ownership of their work and build confidence in presenting it.

The event provides participants with portfolio material, networking opportunities and practical experience—key elements for launching careers in an increasingly competitive global fashion industry.

Supporting future designers

By stepping into the role traditionally held by major fashion events, MCC and UNL demonstrate how educational institutions are becoming more proactive in supporting emerging talent. The showcase reinforces the idea that fashion education is not limited to design skills alone but includes entrepreneurship, collaboration and adaptability—qualities essential for the next generation of designers.

Clean Clothes Campaign (CCC) and a coalition of 234 organisations across Europe and Asia have launched the Fashioning a Just Transition Manifesto on May 1, calling for systemic change across the global fashion industry.

The manifesto outlines a vision for a “just fashion system” that prioritises workers’ rights, environmental protection and equitable economic structures. Developed in collaboration with young people, garment workers and advocacy groups, the framework sets out both near-term goals for 2030 and longer-term structural transformation across the value chain.

According to CCC, the initiative is intended as both a policy reference and a mobilisation tool, encouraging stakeholders—from educators and students to brands and policymakers—to engage with labour rights and climate action as interconnected issues rather than separate agendas.

Contributors to the manifesto emphasise that sustainability efforts must include fair wages, safe working conditions and worker participation in decision-making. Khalid Mahmood of Labour Education Foundation noted that environmental transition cannot be considered “just” without guaranteeing decent work and social protections, particularly in manufacturing regions.

Similarly, Alena Ivanova of Labour Behind the Label highlighted the need for broader structural reforms, including wealth redistribution and stronger welfare systems. Armin Šestić added that living wages are foundational, arguing that sustainability frameworks remain incomplete if workers continue to face poverty.

The manifesto proposes a series of principles for the industry, including fair distribution of climate transition costs, reduced overproduction, corporate accountability and the restoration of natural ecosystems. It also calls for stronger collective organisation and global solidarity across the fashion workforce.

For fashion educators, the initiative reflects a growing shift toward embedding social justice, labour rights and systems thinking into sustainability curricula. It signals that future industry frameworks are likely to demand not only technical innovation, but also a deeper understanding of policy, ethics and global supply chain dynamics.

Denim Première Vision will return to Milan’s Superstudio Più on May 20 and 21, 2026, marking the ninth Milan edition of the international denim trade event. Held under the patronage of the Municipality of Milan, the show will bring together more than 60 exhibitors from across the global denim supply chain, with strong participation from Italy and Japan.

For fashion educators, this year’s edition places particular emphasis on industry learning, collaboration, and emerging talent. Organisers said the event will deepen its partnership with Istituto Marangoni through student-led programming and technical workshops. Four exhibitors — Isko Luxury by PG, Advance Denim, Officina39, and Tonello — are scheduled to host sessions within the school, while student research projects will be displayed in the exhibition’s central pavilion.

On May 21, student Lolie Bernard is set to present What if this was enough?, a concept exploring authenticity and emotional honesty in design. The inclusion of student voices reflects a broader industry trend toward integrating education directly into sourcing and innovation platforms.

The exhibitor line-up also includes returning global suppliers such as Cone Denim and Arvind Limited, alongside new participants including Pakistani accessories producer Jawaid Bross. Organisers said the mix aims to provide a more complete sourcing offer spanning mills, garment makers, accessories, technology and services.

Sustainability remains central to the 2026 edition. Through a collaboration with the Dutch government agency CBI, the event will spotlight the “Circular Apparel Tunisia” project, which supports 18 Tunisian companies transitioning toward circular production models aligned with European market standards.

Another featured initiative, “Redefining Blue,” developed with Chloris, will present research into bio-based dyeing alternatives, including updates on Claessen Blue, the company’s flagship dye technology.

Trend forecasting will also play a major role, with the Denim Trends Forum offering insights into the Autumn/Winter 27–28 season. Conference sessions include forecasts from Première Vision’s fashion team and denim platform Denim Dudes, as well as discussions on worldbuilding, innovation, and consumer shifts.

For educators, the event may offer a live case study in how trade fairs are evolving beyond sourcing to include curriculum partnerships, sustainability research, and student visibility within the professional marketplace.

Harlem's Fashion Row and H&M hosted the 2026 Sustainability Forum on Earth Day, bringing together designers, executives and sustainability advocates to discuss how environmental goals and inclusion can shape the future of fashion.

Held on April 22, the event focused on sustainability as both an ecological and social issue. Opening remarks from Brandice Daniel emphasised that progress depends on intention, continuous improvement and ensuring underrepresented voices are included in decision-making across the industry.

Donna Dozier Gordon highlighted the brand’s ongoing partnership with Harlem’s Fashion Row, stressing the role of collaboration and community in advancing responsible business practices. Forum sessions explored multiple dimensions of sustainability, including large-scale operational change, ethics and accountability, circular fashion, craftsmanship and modern luxury. Other discussions examined how new technologies such as artificial intelligence and 3D design may influence future production models and career pathways.

A recurring message throughout the programme was that sustainability extends beyond materials or recycling initiatives, touching every part of the value chain from design and sourcing to labour practices, innovation and representation.

The event concluded with a call to continue equipping designers of colour with resources, access and professional networks as the industry evolves. For fashion educators, the forum reflects how sustainability education is increasingly linked with equity, digital transformation and entrepreneurship, offering a broader framework for preparing students for future careers.

The 2026 edition of Fashion SVP wrapped up at Olympia London yesterday with strong attendance from buyers, brands and manufacturers reported, alongside a continued focus on education and emerging talent.

A key feature of the event was the Designer of the Year Awards, an initiative recognising fashion students from across the UK. The judging panel was led by former BFC chairman Harold Tillman, with the award presented to Yiet Khan from the University for the Creative Arts.

Event organisers noted the “exceptional calibre of entries”, with the award continuing to gain recognition among fashion students and industry stakeholders.

The show also placed emphasis on skills development and innovation through its Innovation Hub, delivered in partnership with Arts University Bournemouth. The space featured technologies such as AI tools, VR workflows and digital product development, alongside presentations from industry practitioners including Holly New.

Across the two-day programme, seminar sessions addressed topics including sustainability, digitalisation and supply chain transparency. Natascha Radclyffe-Thomas, a professor at Ravensbourne University London, led a session examining the role of sustainability within commercial fashion models.

Event organisers said the 2026 edition reflected “growing demand for both technical knowledge and new talent pipelines” across the sector. Fashion SVP will return to Olympia London in November for its 20th edition, with an expanded exhibitor base and updated content programme expected.

PVH Foundation, the philanthropic arm of global brand management firm PVH, has committed 10 million dollars to a new programme designed to uplift and support next generation talent.

Set to run through 2030, ‘Runway Ahead’ will focus on facilitating mentorship opportunities, financial aid, and industry access for emerging designers and students. The investment was described by PVH’s CEO Stefan Larsson as a “responsibility” of the conglomerate to unlock access and create pathways for future fashion leaders.

The initiative is launching through two partnerships, including one with Harlem’s Fashion Row (HFR), which recently introduced an exclusive fellowship programme providing three selected designers with grants and support to create and present collections. The chosen designers will present their debut SS27 collections at HFR’s Fashion Show and Style Awards during New York Fashion Week.

A second partnership with the Council of Fashion Designers of America (CFDA) will similarly award three one-year scholarships to US-based design students, either senior undergraduate or first-year graduate levels, exploring how fashion carries meaning across time. The recipients will also receive access to PVH’s archive as well as ongoing mentorship and career guidance from the group.

CFDA’s CEO, Steven Kolb, said: “These scholarships are about giving talented students the space to grow, experiment, and define their voice. With the support of the PVH Foundation, we’re helping empower the next generation of designers to approach fashion with both creativity and purpose.”

New Designers, one of the United Kingdom’s longest-running graduate design showcases, has announced a new one-week format for its 2026 edition, reflecting the increasingly interdisciplinary nature of creative education and industry practice.

The event will take place from 1–4 July 2026, bringing together graduates from across the UK in a single unified showcase rather than the previous two-week structure. Organisers said the revised model is intended to create stronger collaboration between disciplines and make it easier for employers, recruiters and industry professionals to engage with emerging talent in one location.

For more than 40 years, New Designers has provided a platform for over 2,500 graduates annually to present projects to the public and creative industries. The 2026 edition will feature work from more than 100 undergraduate and postgraduate courses spanning fashion, costume, textiles, jewellery, furniture, product design, illustration, digital arts, UX and game design.

Focus on career readiness

At the centre of this year’s programme is ND Educates, a talks and workshop series designed to help graduates transition from study into employment. Sessions will focus on commercial awareness, professional skills and industry expectations, giving students practical knowledge alongside creative exposure.

A dedicated education-focused programme will also bring together tutors, university leaders and employers for seminars and networking sessions examining current challenges in design teaching and skills development. Initial discussions will focus on jewellery, silverware and hand-skills training, with potential to expand into other disciplines in future editions.

Fashion and creative disciplines under one roof

For fashion students, the new integrated model offers greater visibility alongside adjacent sectors such as textiles, digital design, product development and crafts. This mirrors current industry realities, where future designers are increasingly expected to collaborate across technology, sustainability, branding and production disciplines.

By combining exhibition opportunities with employability training and academic dialogue, New Designers 2026 highlights how graduate showcases are evolving beyond end-of-year displays into platforms that support education, recruitment and long-term career development.

The United Nations has launched the next phase of its sustainable tour guide uniform initiative, expanding a fashion-education collaboration that places students and circular design at the centre of institutional workwear development.

Announced in New York on 28 April, the programme follows the 2025 debut of new uniforms created by students from the Swedish School of Textiles. According to the UN, this marked the first time a fashion school had led the design of its tour guide uniforms, with sustainability embedded throughout the process.

The newly announced phase will focus on accessories, with students from Central Saint Martins and the Swedish School of Textiles invited to develop additions to the collection. The initiative is being coordinated through the UN Office for Partnerships alongside the UN Fashion and Lifestyle Network and other collaborators.

For fashion educators, the project highlights how live industry briefs can connect students with global institutions while addressing sustainability, functionality and public-facing design challenges. It also demonstrates growing demand for interdisciplinary skills, combining garment design with systems thinking, branding and responsible sourcing.

The original collection was designed with input from UN tour guides and included garments intended to balance inclusivity, practicality and environmental considerations. Materials, production methods and gender-neutral design principles were among the stated priorities.

As universities increasingly seek partnerships that offer real-world experience, the UN initiative may serve as a model for how education providers and institutions can collaborate on socially visible, sustainability-led fashion projects.

London is full of emerging creative talent. From major fashion schools to independent designers, new work is constantly being created. Finding space to present the work publicly is often the real challenge.

Traditional fashion venues typically come with barriers: cost, hierarchy and strict expectations that shape how work is presented. For many young designers, getting collections out of the studio and into the public eye remains difficult.

Founded by Vogue College of Fashion master’s student Sterling Latham in collaboration with peers Kaki Huebner, Emily Crowe and Shannon McCarthy, Rogue Runway provides emerging creatives access to spaces where they can present their work.

The idea is intentionally simple: there’s no brief, imposed theme or expectation to conform.

Designers provide their collections, and Rogue Runway supplies photographers, music and an audience of students, creatives and industry insiders. The result is less a conventional runway and more an open, immersive environment where movement, interaction and spontaneity shape the experience.

Rogue Runway’s Debut Show

Set inside the iconic Glasshouse Stores in Soho, London, Rogue Runway’s debut show was brimming with an exciting and inviting energy.

Guests stood throughout the space, moving around the collections as they unfolded and dissolving the traditional separation between runway and audience. The show felt active rather than staged, aligning with the platform’s emphasis on fashion as lived experience.

Each designer had a different approach. Tailored pieces appeared alongside experimental silhouettes, accessories-based concepts were placed next to deconstructed garments, and some presentations moved fluidly between fashion and fine art. Without a unifying theme, the differences became the structure of the show.

This lack of imposed direction is central to Rogue Runway’s identity. The space provided each collection room to flourish. The result felt less like a meticulously staged show and more like a shared moment shaped by multiple perspectives.

Abe House And the Language of Craft

Opening the show was Imogen Downey, founder of Abe House. Downey studied bespoke tailoring at London College of Fashion before moving into fashion design at the Amsterdam Fashion Academy.

Instead of creating something entirely new for the show, she brought together pieces spanning the brand’s history. Downey describes it as less of a “collection” and more as a continuation, something that she’s been building over time. The pieces sat harmoniously next to each other, and each look gradually merged into the next.

That approach carries through in how she talks about her work. There’s no real interest in chasing newness for the sake of it. What matters more is consistency. She builds a language that slowly develops through fabric, construction and repetition.

British heritage is apparent, but it’s subtle. Her use of deadstock wool reinforces a focus on material and how it holds shape over time, with attention placed on longevity.

Reflecting on the show, Downey describes a change in perspective: “It was amazing to meet so many new people and see Abe House in a completely different environment. Watching the pieces come to life on the runway and seeing people’s live reactions was very special.”

Folded And the Afterlife of Print

Bell Johnson and Brynlie Grantland’s project moved in a more object-based direction. They presented Folded: a series of one-of-a-kind clutches made from archival print magazines.

At a time when most fashion media is consumed digitally and print magazines feel increasingly distant, Folded returns to the physical. The magazine is no longer just something you flip through but something you can hold onto. Fragments of imagery and text are reworked into objects that feel both familiar and new.

“We wanted to revive the original magazine clutch in a way that felt more personal. Folded is about celebrating fashion, curiosity and the cultural significance of printed archival magazines.”

Each clutch is designed with care and delicate craftsmanship, resulting in a collection of unique clutches that imbue the source material with new life.

Moodi Studio and the Modern Woman

Moodi Studio, founded by Mersedeh Heydari, took a narrative approach to the runway. The collection is inspired by the modern day woman: ambitious but forced to navigate social pressure and identity in her daily life. The collection is grounded in observation, capturing how identity changes in real time.

Heydari explores the idea that the woman who is composed in one setting is also unguarded in another. “The woman who closed a deal yesterday is also the one who let loose last night,” she explains. “A woman’s sparkle never disappears; it’s just rearranged.”

This concept is the foundation of the collection. The pieces are tailored but delicate. The silhouettes are structured yet fluid, and nothing feels too fixed.

Some pieces feel slightly undone, as if they’ve already been worn throughout different moments in the day. Heydari’s concept sits in that in-between space, where everything has structure but isn’t rigid.

Chloe Wing and Fine Art in Fashion

Closing the show was Chloe Wing, a fine artist invited by Rogue Runway to present her hand-cut pieces. Although her work has been shown in art contexts before, this was her first time presenting it within a fashion setting.

Everything in Wing’s collection is cut by hand, drawing on years of practicing her craft. Through her work, Wing explored fashion’s relationship with light and shadow—more specifically, what is revealed and what is concealed.

Through close inspection, you can see that her garments are constructed with multiple sheer layers, each one partially covering the next. From a distance, the pieces feel complete, but as you move closer, details begin to shift. What sits underneath becomes just as important as what is visible on the surface.

“The layering is really about what you choose to reveal and what you hold back,” Wing explains. “I’m interested in how something can be present yet never fully visible.”

Certain parts of the pieces are exposed, while others are softened or obscured. As the pieces move, they catch the light differently, at times becoming almost transparent before returning into view.

Wing’s work reflects her journey as an artist. She began in fashion, moved into fine art and has now returned to fashion on her own terms.

Because of that, the work doesn’t feel like a reference or translation. It feels like both practices meeting in the same place.

Creating Access for Emerging Designers

What Rogue Runway’s first show made clear is the importance not just of giving designers visibility but of how that visibility is offered. The platform allows work to be shown as it is, whether complete or still in progress.

There’s also significance in the way the platform operates. As a platform built by students and young creatives for new designers, Rogue Runway inherently provides a range of people in the industry an opportunity to acquire experience and a launchpad for their careers.

Rogue Runway does not attempt to define what emerging fashion should look like. That openness is central to its identity. It allows new voices to develop on their own terms while positioning fashion as something lived, immediate and connected to the city around it.

Explore MA Programs at Vogue College of Fashion

Students at University of the Arts London’s London College of Fashion have unveiled a collaborative project with adidas and the Stephen Lawrence Day Foundation to honour the legacy of Stephen Lawrence.

Titled The Market, the project was created by scholarship recipients from multiple courses across the college and explores the market as a shared cultural space where communities meet, exchange and connect. Students involved in the initiative come from backgrounds including Ghana and Brazil, using the concept to reflect on common experiences of community life and belonging.

The project was conceived by Ezra Alexander Pusey and Emmanuel Danquah. A capsule collection was designed by Lucian Blanchard using reworked adidas garments in the foundation’s colours of orange, black, grey and white. The looks were designed around everyday market characters such as shoppers, florists and runners, with photography and collage used to capture movement and expression.

According to adidas, the partnership aims to widen access and opportunity for young creatives who have historically been underrepresented in the industry. The scholarship programme is now in its second year and supports students across fashion design, photography, creative direction and marketing.

For fashion educators, the project highlights how scholarship initiatives can extend beyond financial support into collaborative learning experiences that combine storytelling, brand partnership and social impact. It also demonstrates how live projects can encourage interdisciplinary teamwork while connecting students’ creative practice to wider cultural and community themes.

Dutch Design Awards has announced the jury for its 2026 Emerging Talent Award 2026 following the opening of nominations during Milan Design Week. The award recognises early-career designers whose work demonstrates critical thinking, innovation and future-focused practice.

The 2026 jury will be chaired by Borre Akkersdijk and includes Imruh Asha, Gabriele Chiave, Karin van Gilst, Afaina de Jong, Christian Luiten, Nalden and Hussein Suleiman.

According to organisers, the jury brings together perspectives from fashion, architecture, art, media and entrepreneurship to assess designers contributing to a more connected and internationally relevant design landscape. Akkersdijk said the group reflects the need to create conditions in which a new generation can grow, collaborate and redefine the role of design.

The programme is inviting nominations from the design community for emerging practitioners with strong vision and critical perspectives. Designers may self-nominate or be nominated until May 15 through the awards platform.

Dutch design week 2026

Finalists will be announced this summer as the Class of 2026 and will take part in Dutch Design Week 2026, scheduled for October 17–25 in Eindhoven. During the event, participants will join a shared programme focused on recognition, exchange and professional development.

A total of 30,000 euros in grants will be awarded to three winners, supported by Keep an Eye Foundation, which backs emerging creative talent. For educators and students, the initiative offers another example of how design awards are increasingly positioned not only as recognition platforms, but as tools for mentorship, visibility and career growth.

The British Fashion Council (BFC) has revealed the names shortlisted for this year’s BFC/GQ Designer Fashion Fund (BFC/GQDFF). The designers selected for the coveted prize are Clothsurgeon, Derrick, Harri, and Labrum London.

The winner of the fund is set to receive a 100,000 pound grant prize, as well as a year-long mentorship with an industry leader, legal services from Sheridans, and access to a network of specialist advisors.

This year marks the first in which Murray Clark, senior style editor of GQ, will co-chair the award alongside the BFC’s new chief executive officer, Laura Weir.

In a statement, Clark said the initiative has served as a “prime activator for some of the most remarkable names in menswear”, adding that the “prize has never been more powerful” amid the continued “ascendancy” of London Fashion Week.

Weir added that the chosen designers “represent the creative excellence that defines British fashion today”. She continued: “Through the fund, we are focused on sustained support to help designers build resilient, future-facing businesses.”

While running since 2013, this particular edition of BFC/GQDFF comes at a notable time for the BFC, which last month unveiled its new ‘BFC 2030: Access, Creativity, Growth’ strategy, pivoting the organisation’s efforts from designer promotion towards more tangible support.

BFC/GQDFF serves as a pillar of the strategy’s Prizes and Programmes segment, designed to bolster platforms that nurture and strengthen the commercial resilience of creative excellence.

At the crux of the strategy is the overarching mission is to replicate a blueprint laid down by British designers that have already garnered international success, such as that of Wales Bonner, Bianca Saunders, and Craig Green, notably all prior winners of the BFC/GQDFF.

IED Milano has introduced artificial intelligence into its fashion curriculum through a new partnership with Modelia, reflecting a broader shift in how digital tools are being integrated into design education.

The collaboration sees Modelia’s platform incorporated into the second-year Fashion Design programme, where students are using AI to translate creative concepts into fully realised visual outputs. The initiative includes a 20-hour seminar focused on AI in fashion, combining early-stage ideation tools such as ChatGPT and Gemini with Modelia’s production capabilities to create digital runway presentations.

According to the institution, the aim is to address a growing challenge for emerging designers: not only generating ideas but presenting them with a level of visual execution that meets industry expectations. By using AI tools, students can develop and refine concepts into professional-standard imagery, even when working with experimental or unconventional designs.

AI as a support tool

The programme positions AI as a support tool rather than a replacement for creativity. As noted by faculty member Paola Pinna, the technology enables students to realise complex ideas more effectively, while still relying on original thinking and design direction.

For educators, the initiative highlights a wider trend toward embedding AI literacy into fashion training. With visual communication and speed of production becoming increasingly central to the industry, tools like Modelia are being framed as part of the evolving skill set required for future designers.

The partnership also reflects a strategic alignment between education and industry, as institutions such as IED Milano—part of a broader international network of design schools—seek to prepare students for a sector where AI is becoming a practical component of workflows, from concept development to campaign creation.

Denim Première Vision Milan 2026 will return to Superstudio Più on May 20–21, bringing together industry professionals, educators and students to explore developments shaping the global denim sector and upcoming Autumn/Winter 2027–28 trends. Held under the patronage of the Municipality of Milan, the ninth Milan edition aims to combine sourcing, education and research-driven dialogue relevant to fashion teaching and curriculum development.

More than 60 exhibitors from across the international denim supply chain are expected to participate, with strong representation from Italy and Japan. The line-up includes returning companies such as Cone Denim and Arvind Limited, alongside first-time participants including Jawaid Bross. Organisers note that the sourcing offer will span mills, garment makers and suppliers of accessories, technologies and services, providing insight into the full production ecosystem.

Education-focused programming is central to this edition, particularly through collaboration with Istituto Marangoni. Technical sessions hosted by exhibitors such as Isko Luxury by PG, Advance Denim, Officina39 and Tonello will take place within the school environment, while students will present research projects at the exhibition. A student presentation by Lolie Bernard, titled “What if this was enough?”, is scheduled for May 21 and will explore themes of authenticity and emotional honesty in design.

Sustainability and circularity are also key themes, highlighted through collaboration with the Centre for the Promotion of Imports from Developing Countries on the “Circular Apparel Tunisia” initiative, which supports Tunisian companies transitioning to circular production models aligned with European standards. Another project, “Redefining Blue,” developed with Chloris, will present developments in bio-based dyeing technologies, including the Claessen Blue dye, alongside research findings shared during a panel discussion. The event will also pay tribute to the late Adriano Goldschmied, with collections created for Pioneer Denim in collaboration with Soko displayed in a dedicated area. Organisers describe the showcase as highlighting approaches to sustainable denim development and craftsmanship.

For educators, the Denim Trends Forum and conference programme offer structured insights into future design directions and technological developments. Sessions include forecasting presentations by Amy Leverton of Denim Dudes, discussions on worldbuilding in fashion with Shanu Walpita and Cait Monahan from Hypebae, and seminars from the Première Vision fashion team.

Additional initiatives such as the “Underrated Project,” developed with designer Kristian Guerra, will present experimental denim garments exploring hybrid materials and evolving silhouettes. Together with trend forums and technical showcases, the programme positions the event as a learning environment for educators seeking to integrate sustainability, innovation and supply-chain knowledge into fashion curricula.