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.

Anna Nilsson, Program Leader for the MA Fashion Beauty & Communications at Vogue College of Fashion, reflects on her global career across editorial, advertising and brand storytelling.

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

My career in fashion started in editorial at French Vogue when I was still studying for my degree in fashion design. This gave me a complete introduction to the industry. I began as a stylist assistant in Paris and later became a stylist. I then progressively moved into roles such as fashion director and editor-in-chief for different publications.

Throughout the years I was also freelance for several different magazines including Vogue International, ELLE International and Harper’s Bazaar International.

Very early on I was responsible for conceiving and producing full fashion stories, working closely with photographers, art directors and journalists. One of the moments that stayed with me was realizing how much coordination and trust is required behind a single published image, it taught me that fashion is fundamentally collaborative.

At the same time I was styling advertising campaigns for major brands and working with international agencies. This exposed me to brand strategy and the importance of consistency between creative vision and commercial objectives. It made me understand that fashion is not only about trends but about identity and communication.

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

Throughout my career I have worked across several sides of the fashion industry, editorial, advertising, talent representation and public relations and this breadth has strongly influenced how I approach my role as a course leader at Vogue College.

Working as a Fashion Editor, Fashion Director and Editor-in-Chief taught me how to analyze trends, understand audiences and build a clear narrative around a fashion concept. Producing fashion stories required managing creative teams, setting deadlines and making final editorial decisions which developed my ability to mentor, guide and give constructive feedback. Today I apply the same approach with students: I encourage them to justify their creative choices, think critically and understand the intention behind every image, styling decision or written piece.

My experience in advertising and styling for brands such as Louis Vuitton, Burberry and Lancôme gave me a strong understanding of brand identity and commercial objectives. As a result I emphasize to students that creativity in fashion always exists within a professional context. I teach them how to adapt their ideas to a brief, a client and a target consumer and how to balance artistic vision with practical constraints.

Founding a talent agency and later establishing a French PR subsidiary developed my entrepreneurial and strategic skills negotiating, positioning creatives, building networks and communicating effectively with different stakeholders. These experiences shape my teaching by preparing students for the realities of the industry: collaboration, professionalism, time management and communication are as important as creativity. Overall my career has given me a holistic understanding of the fashion ecosystem.

As a course leader I aim to help students not only produce creative work but also understand how the industry functions, how careers are built and how to position themselves within it.

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

What excites me most about teaching the next generation of fashion and luxury professionals is helping students understand that fashion is not only about aesthetics but about ideas, culture and communication.

Having worked across editorial, advertising, talent representation and public relations, I have seen how many different skills are required to build a career in this industry. Students often arrive with creativity and enthusiasm but not always with a clear understanding of how the industry actually functions. I find it particularly rewarding to guide them in connecting their creative instincts to professional realities how to respond to a brief, how to collaborate with others and how to position themselves within a competitive environment.

I am also motivated by helping students discover their individual strengths. During my career I worked with photographers, stylists, journalists and brands at very different stages of development and I learned that success rarely comes from imitation; it comes from clarity of identity and consistency. In teaching I aim to help students develop confidence in their point of view while understanding the expectations of the luxury sector.

Finally, what inspires me is seeing students realize that fashion is a global industry built on relationships, professionalism and communication. Preparing them not only to create but to think critically, adapt and work collaboratively is what makes teaching particularly meaningful to me.

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

What I find most compelling right now is that fashion and luxury feel like they’re in a moment of self-examination. It’s less about hemlines or “what’s trending” and more about a deeper recalibration of values of what luxury means, who it’s for and how it justifies itself in a more conscious, culturally fluid world.

For a while we saw the dominance of “quiet luxury” amplified by shows like Succession and brands such as Loro Piana and The Row. What interests me now is how that aesthetic is evolving. Minimalism was initially positioned as a rejection of overt status signaling but it quickly became codified itself. The conversation seems to be shifting from how something looks to what it represents craft, traceability, longevity. I find that move from aesthetic discretion to value-driven discretion particularly compelling.

At the same time luxury’s sustainability reckoning feels unavoidable and necessary. Large groups like Kering and LVMH are being pushed to move beyond storytelling into measurable accountability. What’s fascinating is how consumer literacy has evolved. The growth of resale platforms signals a shift in how we think about ownership and value. Pre-owned luxury now carries cultural and even ethical capital which fundamentally challenges the industry’s long-standing obsession with newness.

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 MA Fashion & Beauty Communication class as a student, I would be most excited to explore how deeply history shapes the way fashion and beauty communicate today and how understanding the structure of the industry changes the way we tell its stories.

Fashion and Beauty can sometimes feel relentlessly future-facing, obsessed with what’s “next.” But so much of its visual language, its hierarchies, even its definitions of luxury are rooted in history. The codes we associate with heritage houses like Louis Vuitton or the disciplined craftsmanship of Hermès didn’t emerge in a vacuum they’re the result of specific economic, social and colonial histories. As a student I’d want to interrogate how those legacies continue to inform contemporary branding and desirability.

Beyond history I would be excited to unpack how the industry actually functions. Who holds power within conglomerates? How do supply chains shape storytelling? How do financial pressures influence creative decisions? When someone like Pharrell Williams steps into a major creative role, the narrative is cultural but it’s also strategic. As a student I’d want to understand both the symbolism and the business rationale behind such appointments.

To me strong fashion and beauty communication doesn’t exist in isolation from industry knowledge. It requires understanding production timelines, retail structures, media ecosystems and global markets. Without that context, storytelling risks becoming surface-level. With it communication becomes sharper, more responsible and more informed.

So, if I were sitting in the classroom, I’d be most excited by the opportunity to connect theory and practice, to trace how historical forces shape contemporary aesthetics and how industry mechanics shape the stories we are able to tell. That combination of critical awareness and professional literacy feels essential for anyone hoping to communicate fashion in a meaningful way today.

How do you help students communicate about fashion and beauty in a way that feels relevant, responsible and engaging?

I approach that question from three interconnected angles: relevance, responsibility and depth.

First, relevance comes from cultural literacy. I encourage students to situate fashion and beauty within broader cultural conversations rather than treating them as isolated industries. When we look at a brand like Louis Vuitton collaborating across music, sport or art or consider how figures like Pharrell Williams operate across multiple cultural arenas, we analyze not just the aesthetic outcome but the ecosystem around it. Who is the audience? What values are being signaled? Why now? Students learn to see communication as something embedded in culture, not just produced for it.

Responsibility for me begins with critical awareness. Fashion and beauty are powerful image-making industries they shape ideals of identity, gender, race, class and desirability. I ask students to interrogate the histories behind the images: where certain beauty standards originate, how luxury has historically constructed exclusivity and how supply chains and labor realities sit behind polished campaigns. We discuss the difference between performative sustainability messaging and structural change, and we examine how narratives around “empowerment” or “diversity” function in practice. If students understand the implications of the stories they tell, they can communicate with integrity.

Engagement comes from encouraging experimentation and clarity of voice. I push students to think beyond conventional formats, campaigns, editorials, brand decks and consider emerging platforms, digital storytelling and new forms of audience participation. At the same time I emphasize precision: who are you speaking to and why should they care? Strong fashion communication isn’t just visually compelling; it’s conceptually rigorous and strategically aware.

Importantly I also ground creative work in industry knowledge. Understanding how conglomerates operate, how trend cycles are generated, how media and retail structures intersect, these realities shape what is possible. When students grasp both the creative and commercial frameworks of fashion and beauty, their communication becomes more nuanced and credible.

Ultimately I aim to help students develop a dual lens: one that is imaginative and forward-thinking and one that is historically and ethically grounded. When those two perspectives come together, fashion and beauty communication can be culturally relevant, socially responsible and genuinely engaging.

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 into their careers, I would hope it would be critical curiosity.

By that I mean the ability to remain inquisitive about the systems they’re operating within, not just the aesthetics they’re producing. Fashion and beauty move quickly and there’s constant pressure to respond, create and deliver. But I hope they pause long enough to ask: Why is this trend emerging now? Who benefits from this narrative? What histories sit behind this image?

Whether they’re working with a heritage house or a global powerhouse, I want them to understand that every campaign, collaboration or casting decision sits within a larger economic and cultural framework. If they carry that awareness with them, they’ll be better equipped to navigate complexity rather than simply reproduce it.

Critical curiosity also means being open to change. The industry is constantly evolving through technology, sustainability pressures and shifting cultural power. A mindset rooted in curiosity allows graduates to adapt without losing their ethical compass.

Ultimately I hope they leave with the confidence to question constructively, to create responsibly and to remain intellectually engaged throughout their careers.

Explore MA Programs at Vogue College of Fashion

The upcoming edition of Denim Première Vision will focus on new talent through a partnership with Istituto Marangoni. The event is scheduled for May 20 and 21 at Superstudio Più in Milan's Via Tortona. Two months after the passing of Adriano Goldschmied, a constant presence at the trade show, the event will dedicate a tribute to the “godfather of denim”. Goldschmied not only created successful jeans labels but also innovated the denim industry. He dedicated his talent, commitment, and knowledge to making this market sector increasingly sustainable.

Pioneer Denim and Soko to present three collections created by Adriano Goldschmied for Pioneer Denim

Specifically, Pioneer Denim and Soko will present three collections designed by Adriano Goldschmied for Pioneer Denim, developed in close collaboration with Soko's expertise in sustainable chemistry. Each collection reflects Goldschmied's relentless pursuit of modern, sustainable denim without aesthetic or process compromises. These creations embody the lasting legacy of a man who left an indelible mark on the industry.

The autumn/winter 27-28 trends will be presented at the event. The Denim trends forum will offer a forward-looking vision for the FW27-28 season, positioning denim as a constantly evolving language. The space brings together the technological advancements and responsible developments of the exhibitors. The forum serves as a practical tool for rethinking and elevating upcoming collections, encouraging an approach to denim as a living and transformative medium.

Denim Première Vision hosts over 60 exhibitors from around the world

Over 60 exhibitors from around the world will be present, with strong representation from Italy and Japan.

This edition features a renewed offering, with 10 percent new exhibitors and the return of global leaders such as American manufacturer Cone Denim and India's Arvind Limited. Newcomers include Pakistani accessories manufacturer Jawaid Bross. The trade show presents a mix of offerings composed of 60 percent denim mills; 20 percent manufacturing companies; and 20 percent suppliers of accessories, technology, and services.

As previously mentioned, the trade show is strengthening its partnership with Istituto Marangoni Milano to support the next generation of talent.

Four exhibitors (Isko Luxury by Pg, Advance Denim, Officina39, and Tonello) will host exclusive sessions within the school. Students will exhibit their creative research in the heart of the fair.

On May 21, student Lolie Bernard will present her vision, “What if this was enough?”, exploring authenticity and emotional honesty in design.

Denim Première Vision's commitment to eco-responsibility reaches a new milestone through its collaboration with the CBI (a Dutch government agency). The “Circular apparel Tunisia” project will be highlighted, showcasing the support provided to 18 Tunisian companies transitioning to circular production in line with European market requirements.

Among the main collaborative initiatives presented is Redefining Blue, a pioneering project developed in partnership with Chloris. In this edition, Chloris and Denim Première Vision will unveil the latest developments of Claessen Blue, Chloris' flagship bio-based dye, along with the initial results from the project's first phase. Bringing together leading denim mills, Redefining Blue serves as a platform for research, validation, and industrial application, supporting the industry's shift towards more responsible dyeing processes.

This unique collaboration between an innovative technology company and an international trade fair underscores Denim Première Vision's role as a driver of collective progress. Chloris will present its progress at a dedicated stand. Additionally, Li Li (chief brand and strategic officer of Chloris) will discuss the research findings during a dedicated panel with Fabio Adami Dalla Val, moderated by journalist Maria Cristina Pavarini.

The trade show will also unveil the second chapter of the Underrated Project. Developed in collaboration with Italian designer Kristian Guerra, the Denim PV fashion team, and exhibitors, this project presents an avant-garde denim wardrobe. Fusing authentic heritage with a futuristic vision, it explores the entire spectrum of the material, from raw indigo to coated and over-dyed finishes. Through the hybridisation of denim with technical fabrics, the project opens up an urban dialogue where functionality and style interact, creating fluid silhouettes in line with contemporary lifestyles.

Exhibitors include Abm Fashion, Arvind, Azgard Nine, Blue Diamond, Calik Denim, Chloris, Dnm Demim, Cbi, Isko Luxury by Pg, Isko, Ithib, Kilim Denim, Mic, Soko Chimica, Tonello, Toscana Tessuti by Stamperia Toscana, Umberto Lenzi by Lenzi Egisto, and Woolmark.

A new report by Anitec-Assinform and the Polytechnic University of Turin highlights how artificial intelligence is reshaping skills, work organisation and training systems across Italian companies.

According to the study, the Italian AI market is expected to grow significantly, reaching 1.24 billion euros in 2025, up from 935 million euros in 2024, with projections exceeding 2.5 billion euros by 2028. Data from ISTAT also shows rapid adoption, with the share of companies using at least one AI solution rising from 8 percent in 2024 to 16.4 percent in 2025.

While adoption is accelerating, the report notes that employment impacts remain uncertain. Routine roles appear most exposed, with international evidence pointing to reduced job vacancies and declining junior employment in AI-intensive occupations. In Italy, however, the labour market is still at an early stage of transformation, reflecting an ongoing digital transition in production processes.

The research, titled “AI in the Italian labor market – Professions, adoption models and the training challenge,” combines literature analysis, case studies of pioneering companies, and a survey of training stakeholders. Findings suggest that businesses are primarily using AI to support decision-making, analyse data and improve operational efficiency, often transforming job tasks rather than fully automating them.

Public sentiment reflects this transition, with more than half of Italians expressing concern about new technologies and around 60 percent reporting insufficient digital skills. The report therefore calls for stronger public policies centred on education and reskilling, proposing 23 recommendations including a “personal AI training account” and a more streamlined national training ecosystem.

Industry representatives emphasise that investment in technology must be matched by investment in people. The study concludes that collaboration between universities, businesses and institutions will be essential to develop hybrid skills and ensure an inclusive transition to an AI-driven economy.

‘Meet Fashion Talent’ has reinforced the Region of Murcia as a platform for emerging fashion talent following the successful first edition held on April 18 at the Auditorio y Centro de Congresos Víctor Villegas. Organised by the regional Ministry of Tourism, Culture, Youth and Sports through the Instituto de las Industrias Culturales y las Artes, the event reached full capacity and showcased a mix of fashion, music and creative programming throughout the afternoon.

The programme featured runway presentations from finalists and winners of the ‘Meet Fashion Impulsa’ initiative, alongside selected emerging designers. Collections ranged from culturally inspired concepts to experimental proposals, while live music and DJ performances contributed to the atmosphere. The closing show by designer Pablo Erroz marked one of the highlights, bringing a presence more commonly seen at major fashion weeks to the regional stage.

Beyond the runway, the event included exhibitions such as “Insectum,” a fashion and beauty photography installation centred on upcycling and biodegradable materials, as well as a display of works interpreting the identity of the region by established Spanish designers. The programme concluded with an awards ceremony recognising emerging talent, with honours presented across categories including best collection, communication plan and presentation dossier.

With its debut edition, ‘Meet Fashion Talent’ positions itself as a growing cultural initiative supporting innovation and offering visibility to new generations of designers in the Spanish fashion landscape.

Nominations for the Belgian Fashion Awards 2026 are now open, with Belgian designers, brands, and fashion professionals invited to submit entries until May 11.

Organised by Flanders District of Creativity, MAD Brussels, Wallonie-Bruxelles Design Mode, and Knack Weekend/Le Vif Weekend, the awards highlight the quality, creativity, and diversity of the Belgian fashion sector both nationally and internationally. The initiative aims to spotlight established names while also creating visibility for emerging talent and behind-the-scenes professionals, reflecting Belgium’s reputation for independence, individuality, and sustainability.

Following an expanded 2025 edition, nominations are now open across multiple categories, including Designer of the Year, Accessory Designer of the Year, Emerging Talent of the Year, Model of the Year, Creative Professional of the Year, Changemaker of the Year, Company of the Year, and the public-voted Love Brand of the Year. The Outstanding Achievement Award and Most Promising Graduate will be selected directly by the jury.

The winners of the 2026 edition will be announced during the awards ceremony on November 17, 2026.

Interview Leicester Made is gearing up for a new edition this year under an expanded banner: Leicester Made & Regions. The shift is reflective of a broader movement underway across the UK, as manufacturing hubs in Manchester, Scotland and London seek to align under a shared push for domestic production.

What was once a city-specific showcase is now evolving into a national platform for UK sourcing amid a renewed interest in nearshoring and supply chain resilience. While brands have gradually re-engaged with domestic manufacturing since the disruption of Covid-19, recent geopolitical instability has accelerated decision-making.

“We were seeing engagement from brands,” Jenny Holloway, CEO of Fashion Enter and chair of the Apparel and Textile Manufacturers Federation (ATMF), told FashionUnited. “But there wasn’t a flurry of activity. Then suddenly…we had a surge of calls. Not just emails, calls asking about test and repeat models, about moving sourcing back to the UK.”

This latest spike, Holloway notes, followed escalating tensions in the Middle East, mirroring previous moments where rising oil prices or global uncertainty prompted brands to reconsider offshore production, but “not like this”.

As brands increasingly look closer to home for their production, the challenges facing domestic manufacturers has been a growing discussion point in the political and business landscape. A persistent narrative surrounding UK manufacturing is the so-called skills gap–according to Oxford Learning College, an estimated 20 percent of the workforce is projected to be underskilled for their jobs by 2030.

In Leicester, however, industry leaders argue the opposite is true. “What I’ve noticed about Leicester is that there actually is a ‘waiting-skilled’ workforce,” Holloway noted. In 2017, Leicester’s garment sector comprised around 1,500 factories employing 1,500 of workers, yet today hundreds of experienced machinists remain either unemployed or out of work.

For suppliers, the issue is therefore not capability but consistency of demand. “The factories need commitment to orders,” Holloway stressed. “That stability, whether it’s from the NHS or the military, is what allows them to plan, invest and retain workers.” This suggests a structural imbalance within UK sourcing, as brands continue to prioritise unit costs instead of long-term order pipelines, undermining the capacity they may later need to rely on.

The ATMF has already been actively involved in advocacy, backing initiatives like a recent parliamentary debate on reshoring production back to the UK. Since Holloway took the chair officially in August 2025, there has been a broadening viewpoint that has expanded ATMF beyond its prior sole focus on supporting garment workers, to now also backing factories to ensure job security.

Public procurement presents opportunity

One of the most significant opportunities for rebuilding UK manufacturing lies in public sector sourcing. The UK’s Public Procurement Act, which came into force February 2025, explicitly promotes local production, SME participation and social value. Yet Holloway notes that barriers still remain. “The contracts tend to be multi-million pounds. What small factory can compete with that?”

In response, the ATMF is facilitating a new limited liability partnership, bringing together 20 factories to collectively bid for large-scale contracts. The group has already submitted the first round of tendering for a 60 million pound UK public contract.

“Why are we making thousands of uniforms that sit in warehouses and get destroyed after five years?”

The stakes extend beyond economics, however, with inconsistencies still prevalent in current procurement practices, particularly in defence sourcing. “We believe military uniforms are being made in China, using fabric that’s actually produced in the UK and shipped out,” Holloway said. “But no one factors in the real costs of logistics, security risks, or waste.”

Holloway also highlighted inefficiencies in overproduction and stockpiling. “Why are we making thousands of uniforms that sit in warehouses and get destroyed after five years? Why not make them closer to demand?”

Rewriting Leicester’s reputation

For Leicester manufacturers, public procurement serves not just as a revenue stream, but a pathway to long-term industrial stability. To achieve this, however, the city’s reputation must also be strengthened.

Leicester’s garment sector has spent much of the past decade under scrutiny, following high-profile investigations into labour conditions. Allegations of underpayment, exploitation, money laundering and poor working environments have cast a shadow over the city’s manufacturing base. The launch of Operation Tacit in 2020 further intensified that scrutiny, bringing together multiple enforcement agencies to investigate claims of malpractice.

More recent findings have challenged the scale of these claims, however. A 2025 report by the UK’s director of labour market enforcement, Margaret Beels, concluded that while non-compliance did exist, its severity had been overstated and was not disproportionate compared to other sectors.

Having credited Beels’ report for exonerating Leicester, Holloway was also clear-cut in her perspective. “I would not chair the ATMF if I thought those claims were accurate,” she said. “They were exaggerated, and incredibly damaging to the livelihoods of factories and workers.”

“It feels as though large retailers have closed their ears to the bite of the machines,”

Holloway argued that the narrative has had lasting commercial consequences, deterring brands from engaging with Leicester and ignoring its capabilities, even as conditions improved. “It feels as though large retailers have closed their ears to the bite of the machines,” she added, a reference to the hum of factory production. “They should be re-looking at the vibrancy of Leicester and bringing production back.”

A new generation and capabilities beyond fast fashion

Another persistent misconception is that Leicester is limited to low-cost, fast fashion production, primarily jersey garments produced on overlock machines. In reality, however, manufacturers in the region possess a far broader skill set. “There’s an assumption Leicester can only manufacture fast fashion,” Holloway said. “But factories are producing woven garments and complex constructions. Scrubs during Covid are just one example of woven production.”

Fashion Enter’s training programmes intend to reinforce this capability. Through its Fashion Technology Academy, the organisation delivers Level 2 to Level 4 training in garment construction, including advanced techniques, such as French seams and double-turned hems. “These are highly skilled jobs,” Holloway emphasised. “All they need is repetition and consistent orders to build momentum.”

Attracting younger workers to engage with these techniques also remains a critical challenge, yet opportunities are emerging. Rather than traditional production roles, many younger entrants are drawn to repair, upcycling and circular fashion. “The younger generation is often appalled by fast fashion,” Holloway explained. “They’re interested in repurposing garments, in reducing waste.”

This shift is reshaping how training and recruitment are approached. Once engaged, many workers transition from creative repair into broader manufacturing roles. “We call them ‘universal workers’ now. They’re trained across multiple machines, which makes the work more varied and more fulfilling,” Holloway explained.

Building trust through transparency

Central to Leicester’s repositioning is a renewed focus on transparency and accountability. Through the Garment and Textile Workers Trust, initially funded through industry contributions, efforts have evolved from worker support to broader factory sustainability.

A key development is the development of a new digital platform designed to give brands deeper visibility into supplier operations. The website will also include a “trusted trader” system and an accompanying emblem for participating factories. “We want to move beyond certifications,” Holloway said. “Brands will be able to see recent orders and how they were processed. That’s real transparency.”

Alongside this, ATMF is introducing unannounced compliance-friendly visits, led by director TJ Hussain. “Audit systems are often just snapshots. TJ will act as a ‘critical friend’, supporting factories to improve, rather than penalising them,” Holloway added.

“The capability is here. The workforce is here. What we need now is commitment,”

For Leicester, and for UK manufacturing as a whole, the convergence of geopolitical uncertainty, policy shifts and changing consumer expectations presents a rare window of opportunity. There are early signs of cohesion within the industry, as local collaboration increases, aligning manufacturers, trade bodies and educators more closely. “We’ve never had this level of cohesion before,” Holloway said. “Bringing 20 factories together to bid collectively is new.”

Yet the success of this “Leicester Renaissance” ultimately depends on one factor: whether brands are willing to act. “The capability is here. The workforce is here. What we need now is commitment,” Holloway stated.

About Leicester Made & Regions 2026

All this will be addressed during the upcoming Leicester Made & Regions trade show, taking place April 24 at The Venue De Montfort University. Over the day, players across the industry will come together to back the shared mission of strengthening UK supply chains and accelerating the shift to sustainable, onshore, and technology-driven fashion production.

Alongside an exhibition floor housing manufacturers, textile suppliers, and other production partners, a line-up of industry experts will take to the stage to lead discussions and share insights on critical topics such as embedding innovation, evolving legislation, and the push for sustainability. Among the speakers are N Brown Group sustainability manager, Joseph Mountain; Mintel’s associate principal fashion retail research, Tamara Sender Ceron; and Source Fashion director, Suzanne Ellingham.

Savannah College of Art and Design has opened a new exhibition titled Dior: Crafting Fashion at the SCAD FASH Museum of Fashion + Film, marking the first museum presentation dedicated to the House of Dior in the southeastern United States.

Created by Christian Dior Couture in collaboration with the university, the exhibition is curated by Hélène Starkman and organised by Rafael Brauer Gomes. It explores the heritage and creative processes of the Dior maison through more than 100 historical pieces, some shown publicly for the first time.

Structured across seven thematic sections, the exhibition traces the evolution of the house from founder Christian Dior to contemporary creative leadership, including Jonathan Anderson. Displays include early toiles, reinterpretations of the Lady Dior handbag by American artists, and looks drawn from runway and red carpet moments.

The exhibition highlights the full creative cycle—from sketches and atelier development to styling and catwalk presentation—offering insights into craftsmanship and design decision-making. It also emphasises Dior’s architectural influences and the transmission of expertise between successive creative directors.

The opening served as the finale to SCADstyle, the university’s annual programme focused on design and innovation. Students across disciplines, including fashion design, branding and photography, participated in private tours and lectures with Dior representatives, providing educational engagement alongside the public exhibition.

The initiative continues SCAD’s collaboration with Dior following the 2025 presentation of Christian Dior: Jardins Rêvés in Lacoste, reinforcing partnerships between fashion education and heritage luxury brands. For fashion students and educators, the exhibition offers a case study in craftsmanship, brand identity and the evolution of couture practice.

The EIDM Fashion & Luxury Business School has announced a new collaboration with Monte-Carlo Fashion Week, reinforcing its commitment to connecting students with real-world industry experiences.

The partnership aligns with the broader mission of the Monaco-based fashion event, which runs from April 14–18, 2026 and brings together designers, brands and emerging talent through runway shows, conferences and sustainability-focused initiatives. The event is widely positioned as a platform for innovation and collaboration within the global fashion ecosystem.

Through the collaboration, students from EIDM Fashion & Luxury Business School are expected to gain hands-on exposure to professional fashion week operations, from creative direction to communication and event coordination. This type of experiential learning reflects the school’s emphasis on linking academic training with industry immersion and international visibility.

Monte-Carlo Fashion Week itself has grown into a key fixture on the European fashion calendar, blending established designers with emerging voices and focusing heavily on sustainability, innovation and responsible fashion practices.

Overall, the collaboration highlights the increasing importance of partnerships between fashion schools and global industry events, giving students direct access to professional networks while supporting the next generation of fashion talent.

A new global competition titled Design Forward 2026 has launched, offering fashion students and recent graduates the opportunity to develop digital design skills using AI-powered tools.

Organised in collaboration with The Fabricant, the initiative provides participants with free access to digital design software and a project brief, with no portfolio required for entry. The competition aims to support emerging creatives as the fashion industry increasingly integrates digital workflows into design, production and presentation.

Entries will be evaluated by a jury of industry professionals, including Brigitte Stepputtis, Alex Høgh Nielsen, Katrin Ley, Nicolas Griffioen, Gloria Maria Cappelletti, Carsten Meijer and Kerry Murphy.

The competition is positioned as both a learning opportunity and a career-building platform, allowing participants to gain experience with digital design tools while presenting their ideas to industry decision-makers.

Application submissions are due by April 29, 2026. For fashion students and educators, the initiative highlights the growing emphasis on digital fluency and AI-driven workflows within fashion education and professional practice.

The American Apparel & Footwear Association has released a new guide aimed at helping fashion supply chains protect workers from extreme heat, as rising global temperatures increase health risks in manufacturing environments.

Published on April 17, 2026, the AAFA Guide to Protecting Workers from Heat Stress offers practical recommendations for apparel, footwear and travel goods companies to reduce risks and improve workplace safety. The guidance is designed to be implemented across global supply chains and addresses both prevention and response measures.

According to the International Labour Organization, excessive workplace heat is linked to an estimated 18,970 deaths and 22.87 million occupational injuries, highlighting the growing urgency of mitigation strategies.

Key recommendations outlined in the guide include:

The guidance was developed with input from stakeholders across the supply chain, including brands, manufacturers, academic experts and non-governmental organisations. It will be updated annually to reflect evolving research and best practices.

For fashion students and educators, the initiative highlights how climate change is influencing labour conditions and supply-chain management, reinforcing the importance of sustainability and worker welfare in future industry practices.

The boundaries between creative disciplines are rapidly blurring. Fashion, interior design, retail, hospitality, food, media, and events were long treated as separate industries. Today, however, we are seeing a shift towards integrated worlds where concept, experience, and identity take centre stage.

A fashion brand is no longer just a collection. It is a total experience, encompassing everything from campaigns and content to retail spaces, events, and digital interaction. Hospitality concepts are driven by design and storytelling, while retail is transforming into an experiential space. Technology is accelerating this development.

Consequently, the industry requires a new kind of creative professional. This is not someone who operates within a single discipline, but an individual who connects different domains and develops ideas that translate across multiple contexts.

From making to giving meaning

In a world where tools and technology are increasingly accessible, value is shifting from execution to vision. AI enables faster visualisation and production, but it does not determine relevance.

The key differentiator is the ability to: develop a strong design vision; understand cultural and social context; translate ideas into cohesive concepts; and oversee the development and execution.

Creativity is therefore becoming less of a skill and more a way of thinking.

Technology as an accelerator, not a starting point

The role of technology in the creative process is changing. Digital tools, once merely supportive, are now integrated into nearly every stage of development. The power, however, lies not in the tool itself, but in its application.

At Artemis Academie, technology, particularly AI, is approached as a creative amplifier. It is a tool to accelerate, test, and visualise ideas. This is always guided by an underlying design vision, as technology without direction is meaningless.

Intersection of digital and tactile

Simultaneously, there is a growing need for the tangible. The value of sensory and physical experiences is increasing in an ever-more digital world. The future of creativity, therefore, lies not in a choice between digital or physical, but in their synthesis.

The ability to translate a concept into a cohesive experience—where material, colour, space, light, and interaction converge—is becoming crucial, regardless of the sector.

Cross-over as new reality

Demand from the industry is visibly shifting. Creatives are no longer selected based on a single specialism, but on their ability to think and work across disciplines. From fashion to hospitality and from retail to media, the core question is increasingly the same: How do you translate an idea into a consistent, relevant, and distinctive experience?

What this requires of creative professionals:

• are conceptually strong
• can move flexibly between industries
• and can translate ideas into practical execution

Different way of training

This development also places new demands on education. Traditional models with strictly separated disciplines are increasingly misaligned with industry practice. Artemis Academie addresses this with a four-year, accredited Bachelor of Arts programme that trains students to become creative concept developers. The programme focuses on developing a personal design vision, which is then enhanced by technology and applied across various contexts.

Students learn to:

• develop their own signature style
• use technology and AI as a creative accelerator
• translate concepts into both digital and physical experiences
• and work on real-world challenges in collaboration with the industry

The curriculum is structured in phases, moving from design vision and augmented creativity to specialisation and execution. Students develop into independent creatives who not only conceive ideas but also direct and realise them.

Beyond industry

The future of the creative sector lies not in separate industries, but in the connections between them. For new generations of creatives, this means they no longer need to confine themselves to a single field. Instead, they must learn to navigate between different worlds. The question is no longer, “In which industry do you work?” but rather, “What ideas are you developing, and where can they be applied?”

Artemis Academie, located in the creative heart of Amsterdam, offers a full-time, internationally recognised Bachelor of Arts and part-time modules for professionals. The academy trains students to become creative concept developers, preparing them for a dynamic creative industry.

About the author:

Danielle Robben is the Managing Director of Artemis Academy. She has been leading the academy for the past two years, following the development of a new strategic direction that she and her team initiated over three years ago. Originally trained as a business strategist and marketer, Danielle approaches education as a societal enterprise that—like any organization—must continuously create value through innovation. For her, education is a creative hub: an essential part of the creative industry ecosystem that should stay ahead of societal developments. From this perspective, co-creation is key—not only to provide students with a diploma, but to equip them with a future.

Fashion Institute of Technology hosted its 2026 annual gala in New York City, with Ciara serving as host and a live performance by Aloe Blacc.

The event brought together fashion and industry leaders to support educational initiatives and fundraising efforts for students. The gala also honoured Richard Dickson, recognising his leadership and contribution to the retail sector.

Held at the Cathedral of St. John the Divine in New York, the evening focused on strengthening connections between industry and education while raising funds for scholarships and academic programmes. Organisers emphasised the role of the gala in expanding opportunities for emerging creatives and supporting the next generation of fashion professionals.

The programme featured tributes, networking opportunities and entertainment, culminating in a performance by Aloe Blacc. The event also highlighted mentorship and career-development initiatives designed to connect students with professionals from across the fashion and retail industries.

For fashion students and educators, the annual gala underscores how partnerships between education institutions and industry leaders can create scholarships, mentorship programmes and professional pathways within the fashion sector.

The Netherland's Queen Máxima will officially open the State of Fashion Biennale on May 13, launching a seven-week programme in Arnhem that examines the systems shaping the global fashion industry.

The 2026 edition, titled “Available to Promise; Hidden Systems, Shared Futures,” shifts attention from finished garments to the infrastructures behind them, including production chains, logistics and technology. The biennale explores how these systems influence environmental, economic and social outcomes, and how fashion and textiles can contribute to more sustainable and inclusive futures.

The event will take place from May 14 to June 28 across multiple locations, including the Eusebiuskerk as the main venue, as well as Rozet and Focus Filmtheater. The programme will feature exhibitions, talks, workshops and film screenings designed to encourage dialogue and participation.

International collaborations form a central part of the programme, with ONsite projects in Ghana, China and Sri Lanka. These initiatives examine topics such as second-hand clothing flows, regional retail innovation and the regeneration of local textile supply chains.

The exhibition design has been developed by OMA/AMO, while the curatorial team includes Anne Zhou, Anouchka van Driel and Shanu Walpita. The biennale is organised in collaboration with partners such as ArtEZ University of the Arts, Introdans and ModeMuze.

By focusing on production systems and international cooperation, the biennale positions itself as a platform for knowledge exchange between designers, researchers and educators. For fashion students and academics, the programme offers insight into supply chains, sustainability strategies and interdisciplinary approaches shaping the future of fashion.

More than a fashion makeover, the character of Andy Sachs in The Devil Wears Prada offers a lasting lesson in professional fluency, one that still resonates with today’s fashion industry.

When The Devil Wears Prada was released in 2006, audiences watched Andy Sachs change in plain sight as sensible sweaters gave way to Chanel boots and hesitation turned into assurance. On the surface, it read as a fashion makeover. In reality, it was something more enduring: an education.

Nearly two decades on, the film remains shorthand for fashion ambition. But beneath the clothes lies a lesson that feels especially current. Andy’s transformation went beyond appearance, reflecting the kind of professional skill‑building that continues to define early career development in fashion.

From Observer to Insider

Andy begins at the magazine, Runway, as an outsider. She is capable, curious and unfamiliar with the codes of an industry that runs on instinct, context and speed. What changes her trajectory is exposure to how the industry operates from the inside.

She learns how taste is constructed, how decisions are made under pressure and how creativity and commerce coexist within fast‑moving environments.

These are the kinds of skills developed through the BA (Hons) Fashion Communication & Industry Practice at Vogue College of Fashion, where students move beyond observation to active participation.

By learning on the ground and alongside the best in fashion, Andy gained fluency in editorial thinking, brand environments and professional collaboration, understanding not just what fashion looks like, but how it works.

What the Clothes Represent

Andy’s wardrobe evolution is memorable because it visualizes confidence. Each shift in her appearance reflects a growing awareness of context, audience and expectation. As she begins to decode the visual language of fashion, Andy understands how stories are communicated through image and styling and how messaging adapts across platforms and environments.

These principles sit at the core of Vogue College of Fashion’s undergraduate and MA programs. Whether developing editorial content, shaping brand narratives or analyzing fashion within wider culture, the emphasis remains consistent: ideas must be informed, intentional and culturally aware.

Learning the Industry From the Inside

Some of the film’s most revealing moments appear in the day‑to‑day mechanics of the workplace.

We see Andy fielding calls while moving through the Runway office, managing requests, deadlines and expectations simultaneously. As Andy moves at the pace of the office, she begins to understand professional standards: how to prioritize under pressure, respond with precision and operate confidently within a fast‑moving editorial environment.

The work is no longer about keeping up, but about anticipating what comes next. That understanding forms a critical part of fashion education today.

This perspective is explored further in our Master’s programs, delivered in London and online. Students engage critically with fashion through strategy, media, business and cultural analysis, refining their expertise while sharpening their point of view in a global industry.

Development Through Experience

What appears as transformation on screen is, in reality, something steadier and more gradual. Andy’s growth unfolds through exposure, repetition and refinement. By doing the work and beginning to understand where creative authority sits, she learns how to respond and when attention to detail matters more than speed.

This kind of professional confidence develops through context, shaped by time spent engaging thoughtfully with the work itself and the environments in which it takes place.

This philosophy underpins Vogue College of Fashion’s BA and MA programs, where learning is shaped by the realities of the industry. Students are supported as they build confidence through practice, reflection and informed decision‑making.

A Film That Still Speaks

Set between New York and London, The Devil Wears Prada reflects fashion’s enduring centers of influence, offering a glimpse into an industry that has always moved quickly.

Today, fashion professionals are expected to think critically, communicate with clarity and work across platforms. What the film ultimately captures is not a makeover, but a moment of professional recognition. Understanding how the industry works changes how you move through it and how you see your place within it.

Explore Vogue College of Fashion programs

GIFs via Vogue College Editorial; sourced via GIPHY @foxhomeent

LISAA Mode has appointed Karel Mills as its new director. The aim is to strengthen the link between creativity, industry and employability in a sector undergoing transformation.

A graduate of ESAA Duperré, Karel Mills began her career at creative houses, notably with designer Moonyounghee, before launching her own womenswear ready-to-wear brand.

She then worked as an independent designer, collaborating with international players. Mills later joined LISAA, where she progressed from teaching to academic management, taking responsibility for the Fashion Design and Fashion Business courses and leading the development of programmes, specifically the master's degrees.

Appointed following the departure of Thomas Bucaille, Karel Mills now heads Lisaa Mode.

Her educational project is based on a conviction: to train clear-sighted, committed and sustainable professionals who are capable of understanding fashion in all its complexity, far beyond the creative act alone.

“It is essential that they understand value chains, production constraints, human issues and the responsibilities that come with every creative or strategic decision,” Mills told FashionUnited.

In practice, this vision translates into mainly project-oriented courses, with a balance between theoretical teaching, creative workshops, case studies, real-life scenarios and a close link with industry players.

The teachers are mostly working professionals from the creative, business, production or communication fields: “our students learn by doing, by testing and by confronting real constraints”.

Obtaining internships: a central lever for professionalisation at LISAA Mode

“Support for internships and professional development is a key focus at LISAA Mode Paris. We have a dedicated person whose mission is exclusively focused on preparing students for their professional integration and on the link with the fashion ecosystem,” adds the new director.

Mills also intends to strengthen the international outlook through projects and collaborations with partners in Europe, South Africa and Asia, as well as the integration of artificial intelligence and student employability.

She also places great importance on off-site experiences and key events: the fashion show, professional juries and showrooms, organised twice a year for the bachelor's and master's courses.

Pensole Lewis College of Business and Design (PLC Detroit), America’s only design-focused historically Black college and university (HBCU), is making costume design education accessible with a free digital learning course, developed in collaboration with two-time Academy Award-winning costume designer Ruth E. Carter and sportswear brand Adidas.

The PLC Detroit x Adidas x Ruth E. Carter costume design programme is accessible through the college’s ePLC platform and features four video modules, offering insight into storytelling and costume design.

Carter, an HBCU graduate of Hampton University and PLC Detroit's first artist-in-residence, has developed the curriculum around her approach to Afrofuturism, blending culture, imagination, and storytelling to demonstrate how design informs character and world-building, drawing from her more than three-decade career spanning over 70 credits across film, television, and theatre, including films such as ‘Sinners’ and the ‘Black Panter’ films.

The four-part course covers Carter's creative methodologies, including character development, research techniques, visual storytelling, and strategic problem-solving, to give students practical tools to translate ideas into compelling visual narratives, strengthen their creative decision-making, and develop a deeper understanding of how storytelling shapes both career pathways and personal voice across disciplines.

Commenting on the course, Carter said in a statement: "Afrofuturism has always been about expanding our imagination, about seeing ourselves in worlds that honour our past while designing the future. Costume design is storytelling. It requires research, cultural respect, and the courage to continually evolve your craft. I'm proud to be part of a collaboration like this.

“Support from institutions like PLC Detroit and partners like Adidas is critical because it invests in the growth and development of artists. When brands champion creative education, they help open doors for the next generation of designers to discover their voice, shape their vision, and step fully into their purpose."

D’Wayne Edwards, president of PLC Detroit, added: "Our relationship with Ruth E. Carter began with a Masterclass, where she guided four PLC students in designing dresses for her awards ceremonies.

"In 2025, she collaborated with PLC alumni on the Ruth E. Carter Apparel Creation Stu/Deo by adidas. Today, we invite aspiring creatives worldwide to learn from her through our online platform, ePLC. Her groundbreaking career inspires us to open doors for the next generation to shape the future of design."

American retail group Gap Inc., which includes Gap, Old Navy, Banana Republic, and Athleta, is partnering with the Fashion Institute of Technology (FIT) in New York City to launch a new mentorship programme designed to bridge the opportunity gap for emerging fashion talent.

The Doris Fisher Creators Programme has been named in honour of Gap Inc. co-founder Doris Fisher, to reflect “her legacy of creativity, curiosity, and belief in people,” while also building on the retail group’s commitment to create “stronger connections between education and careers in the fashion industry”.

Richard Dickson, president and chief executive of Gap Inc., said in a statement: “Gap Inc. is a house of iconic American brands guided by our purpose, to bridge gaps to create a better world. That includes bridging the opportunity gap.

“FIT embodies that same spirit, bringing education and industry together to unlock talent and expand what’s possible. We’re committed to opening doors, investing in emerging creatives, and building meaningful pathways into this industry for the next generation.”

The Doris Fisher Creators Programme will launch in fall 2026 and run through the academic year, connecting FIT students with Gap Inc. leaders and creatives through a structured mentorship experience to provide exposure to the fashion business, industry insights and professional connections.

The inaugural cohort of students will be selected from fashion design, graphic design (apparel) and fabric styling.

Amy Thompson, chief people officer at Gap Inc., said: “Supporting emerging talent is a core expression of Gap Inc.’s purpose in action. Through initiatives such as The Doris Fisher Creators Programme, alongside This Way ONward, the Rotational Management Programme, and our broader internship and mentorship efforts, the company continues to bridge the opportunity gap for young people looking to start meaningful careers in fashion and retail.”

Jason S. Schupbach, president of FIT, added: “We are incredibly proud to be the first public college to partner with Gap Inc. on this groundbreaking mentorship programme. This remarkable opportunity with one of the world’s most iconic brands will support 30 talented FIT students over the next year, placing them at the intersection of innovation and impact.”

Kent State University School of Fashion has announced its 2026 Annual Fashion Show, set to take place from April 30 to May 2 in Crawford Hall on the Kent campus.

The showcase will feature 173 looks created by 48 student designers, selected by a panel of industry critics. Collections span categories including childrenswear, knitwear, streetwear and avant-garde design, highlighting the breadth of work developed across the programme.

According to director Mourad Krifa, the event aims to celebrate student creativity and innovation while providing a platform for emerging talent. The production is led by student co-producers Ryan Gibson and Ana Beatriz Fonseca Ribas Martins, with support from faculty co-directors Joanne Arnett and Sue Yoder.

The show forms part of the school’s broader Fashion Week programme, running April 27 to May 2, which includes multiple student-led events such as knitwear presentations, virtual showcases and portfolio exhibitions.

On May 2, the school will also host its Hall of Fame induction ceremony, honouring Fern Mallis as the 2026 inductee. The industry figure will deliver a public lecture during the week, offering students and educators additional opportunities for engagement with professional practice.

Awards presented during the event include Best in Show, Sustainable Design Award, Innovation Award and Market Ready Award, among others, recognising achievements in design, construction and industry readiness. For fashion students and educators, the event serves as both a creative showcase and a practical learning platform combining design, merchandising and production experience.

Design Academy Eindhoven will present “Inframezzo,” an exhibition of graduate works, during Milan Design Week 2026, taking place from April 20 to 26 at Alcova Milano.

The exhibition brings together recent alumni projects that explore themes of pause, transition and change across design, education and everyday life. Framed around the idea of the “intermezzo,” the show examines moments of recalibration where reflection and participation intersect.

Presented through a collective scenography, the works address material, social and ecological conditions as evolving systems open to reinterpretation. The projects propose both subtle and more radical shifts in how these conditions are understood and engaged.

“Inframezzo” will be part of Alcova Milano’s 2026 edition, which features more than 120 international designers, studios and institutions across the Baggio Military Hospital complex. Known for staging exhibitions in historically layered sites, Alcova provides a platform for experimental and emerging design practices.

The exhibition includes work by a range of graduates, including Alice Moretto, Christos Voutsas, Dana Elmi Sarabi and Natali Aguirre Montaña, among others.

“Inframezzo” will be open daily from 11:00 to 19:00 at Via Giovanni Labus 10 in Milan.

Students from Auburn University showcased their work at the 15th annual “Full Circle” Fashion Event, highlighting collections developed within the Department of Consumer and Design Sciences.

Held on April 2, the runway presentation featured general, mini and capstone collections created by students and brought to life through a live production organised largely by peers. The event returned to the Jay and Susie Gogue Performing Arts Center and attracted more than 1,100 attendees.

Full Circle

The “Full Circle” theme explored the cyclical nature of fashion, emphasising how trends evolve, reappear and influence future design directions. Organisers said the concept encouraged students to consider how past aesthetics shape contemporary work and how current creations can inform the industry’s future.

Senior designers, including Hope Lindley, Ella Keenan and Katie Beth Boston, contributed individual collections reflecting personal inspirations and technical development. Lindley’s “Lasso” mini collection, for example, incorporated modern interpretations of western design elements and hand-crafted details.

Beyond the runway, the show served as a collaborative learning experience. Students handled fittings, rehearsals, visual merchandising and marketing as part of a year-long planning course, gaining practical skills in production management and teamwork.

Co-sponsored by the College of Human Sciences and the Auburn Apparel Merchandising and Design Association, the annual event continues to function as a platform for emerging designers to present their work while building professional experience relevant to careers in fashion.

Montclair State University is preparing to stage its annual student runway event, titled “A Moment in Time,” showcasing work from its Fashion Design and Merchandising programme.

The juried fashion show will take place on April 24, presenting garments created by students across multiple course levels, from introductory apparel construction to advanced draping and independent design projects. Organisers describe the theme as an exploration of time as “a constant force of movement and change,” encouraging experimentation with silhouettes and creative concepts.

Produced by the ARTX400 Fashion Show Promotion class under the guidance of professor Seth Howard, the event also serves as a practical learning experience. Students involved in production manage marketing, event planning and backstage coordination, gaining hands-on exposure to industry workflows.

This year’s edition introduces a collaboration with Rocky’s Closet, which provides free professional attire to students. A dedicated runway segment will feature looks styled entirely from the initiative, highlighting accessibility and professional dress.

A panel of industry judges—including James Volpe, Jenni Lee and Utkarsh Gupta—will evaluate the collections, with awards for design excellence and scholarships presented during the evening.

For fashion students and educators, the event highlights how academic runway shows can function as both creative showcases and experiential learning platforms, combining design development with production, styling and event management skills.

Students from LIM College gained hands-on industry experience during New York Fashion Week, working behind the scenes across multiple runway productions, according to a report published by Fashionista.

More than 60 students participated in the February 2026 shows, taking on roles ranging from rehearsing runway formations and steaming garments to organising backstage logistics and producing content. The experience provided exposure to real-world production workflows and opportunities to build professional networks.

Big brand collaborations

Several students also collaborated with brands such as Michael Kors, assisting production teams during run-throughs and acting as stand-ins to refine timing, lighting and camera cues. Others supported labels including Bronx & Banco, helping prepare outfits, dress models and capture behind-the-scenes media.

The article highlighted how participating students were entrusted with practical responsibilities, allowing them to observe how creative concepts are executed in a professional environment. This type of experiential learning, the report noted, helps future fashion professionals understand teamwork, production strategy and the importance of detail in delivering runway presentations.

For fashion students and educators, the initiative illustrates how industry events such as New York Fashion Week can function as career-building platforms, providing exposure to production roles beyond design, including marketing, logistics and event coordination.

Edinburgh College of Art has announced details of its Graduate Show 2026, presenting new work from graduating students across art and design disciplines.

The exhibition will feature projects spanning areas such as performance costume, contemporary art, and design practices, highlighting final-year work developed during the academic programme. The showcase forms part of the institution’s annual graduate exhibition, offering a platform for emerging creatives to present their concepts and research to the public and industry audiences.

Graduate shows play an important role in connecting students with professional networks, enabling visitors to engage with experimental practices and new perspectives. For fashion and design students, the event provides opportunities to observe interdisciplinary approaches, portfolio presentation strategies, and emerging themes shaping the next generation of creative work.

The first programme for June Fashion Month Arnhem has been announced, outlining a month-long schedule of exhibitions, workshops and open studios aimed at highlighting the city’s fashion and design community.

Running from May 29 to June 28, the initiative will take place across Arnhem, bringing together established designers, emerging makers and cultural institutions. Organisers say the event is designed to encourage dialogue and offer insight into creative processes, making it particularly relevant for fashion students and educators seeking exposure to professional practice.

The programme connects closely with the upcoming State of Fashion Biennale, which opens on May 14 under the theme “Available to Promise; Hidden Systems, Shared Futures.” As part of the biennale, an exhibition at Rozet Arnhem will feature designers including Youngjin Choe, Harm Coordes, Mirte Engelhard, Karin Mientjes and Lisette Ros, all presenting perspectives on the future of fashion.

Additional programming includes activities at Museum Arnhem, which will focus on garment repair and longevity through workshops on visible and invisible mending. Meanwhile, the Fashion Quarter Arnhem will host open studios, giving visitors the opportunity to meet designers and observe production processes firsthand.

Organisers noted that further events will be added in the coming weeks, expanding opportunities for learning, networking and collaboration across the city. For fashion education communities, the evolving programme offers exposure to sustainability practices, studio workflows and interdisciplinary design approaches.

Istituto Marangoni Firenze has announced a three-year partnership with Vranjes Firenze aimed at developing new educational pathways in fragrances and cosmetics.

The collaboration will introduce workshops, industry talks and real project briefs, giving students opportunities to explore scent as a strategic element in luxury design, retail and hospitality. A co-branded scholarship will also be launched to support emerging talent and encourage multidisciplinary learning.

Through the initiative, students will gain insights into fragrance creation, positioning and communication, while engaging directly with industry professionals. The partnership reflects growing interest in sensory design and its role in shaping contemporary luxury experiences.

Four emerging designers have been selected as finalists in the Maxxam x Graduate Fashion Foundation competition, which aims to support new talent in womenswear design ahead of Graduate Fashion Week 2026.

The initiative, led by textile innovator Rosemary Moore and the Graduate Fashion Foundation, challenges students to develop contemporary womenswear using Maxxam’s seamless stretch textiles.

The 2026 finalists are:

Each designer presented a concept combining creative direction with technical development, ranging from marine-inspired sportswear to adaptable swimwear and coastal-influenced layered designs. The finalists will now produce one full look in collaboration with Maxxam’s manufacturing partners.

Their finished designs will be showcased at Graduate Fashion Week 2026, where an overall winner will be announced on the gala runway. The competition aims to provide practical experience in textile innovation and support students transitioning into the fashion industry.

The King’s Foundation, a charity founded by King Charles III, has announced a three-year partnership with luxury jewellery house Cartier to form a new education programme to teach the next generation of specialist artisans for the watchmaking industry.

In a statement, The King’s Foundation said the move with Cartier was born of a “shared belief in the importance of preserving rare artistry crafts and supporting the next generation of talent,” and continues both organisations’ long tradition of promoting and supporting creative talent.

The King’s Foundation and Cartier: Decorative Métiers d’Art in Watchmaking bursary supports a new seven-month postgraduate programme. The curriculum consists of five months of formal training followed by two months of project-based work, with a specific focus on specialised techniques such as champlevé, grisaille and marquetry.

Jacqueline Farrell, executive director of education at The King’s Foundation, said: “At The King’s Foundation, we are passionate about protecting traditional crafts and we are delighted to be partnering with Cartier, who share this passion, on this exciting new education programme.

“This course will give students a rare opportunity to learn the highly specialised skills involved in the decorative arts for watchmaking. By nurturing the next generation of makers in two extraordinary settings in Scotland and Switzerland, we hope to ensure that these remarkable skills are preserved and developed for years to come.”

The King’s Foundation creates a new fellowship with Cartier to promote the skill and craftsmanship of decorative watchmaking

The fellowship is open to UK-based jewellery and watchmaking graduates or emerging designers in the first three years of running their business in the decorative arts, metalwork or jewellery sector who wish to add to their technical expertise.

The programme emphasises material exploration and professional skill development. Key components include workshops on enamel processes, as well as creative sessions in specialised techniques such as wood and straw marquetry. Participants will also refine their expertise through expert-led demonstrations and visits, practical application, and direct mentoring from industry leaders and master craftspeople from both organisations.

Successful applicants will receive a monthly bursary of 1,500 pounds to assist with living expenses, and all tuition fees, material costs, and travel to Cartier premises in Switzerland will also be covered.

Applications will open on 27 April via The King’s Foundation website. The inaugural cohorts are scheduled to undertake their studies from September 2026 to April 2027, culminating in a final project exhibition in Spring 2027.

The programme will take place at The King’s Foundation’s headquarters, Dumfries House in Ayrshire, Scotland, with residential experiences delivered at Cartier’s Maison des Métiers d’Art in Switzerland.

Louis Ferla, president and chief executive of Cartier, added: “We are delighted to partner with The King’s Foundation on this important new fellowship programme. Support for creative talents in watchmaking and the métiers d’art is crucial to ensure these ancestral skills are transmitted to the next generation, where they can continue to share their singular beauty.

“This commitment reaffirms the Maison’s longstanding dedication to the shared human adventure of preserving, developing and, of course, celebrating these rare and traditional crafts.”

Designer Silvia Tcherassi and Istituto Marangoni Miami (IMM) have announced the second installation of the "Silvia Tcherassi Scholarship," expanding the program's scope to accept applicants from all Latin American countries. The initial scholarship launch in 2024 had been restricted to students in Colombia.

The partnership aims to foster emerging talent in the region’s fashion industry by providing young designers with educational development and real-life mentoring opportunities.

The annual scholarship will award four prizes to Latin American designers: One full scholarship for a one-year intensive course in Fashion Design at Istituto Marangoni Miami, as well as three partial scholarships covering 50 percent of the tuition for any IMM program, including Fashion Business, Fashion Design, Fashion Styling, or Interior Design.

The recipient of the full scholarship will also participate in a structured, four-checkpoint mentorship program throughout the year with Silvia Tcherassi and key members of her team. These sessions will focus on the winner’s professional and creative development, covering key areas of the fashion business from design and production to sales and marketing.

Silvia Tcherassi emphasized the importance of formal education and experience in a press release. "It is more important than ever to have proper training and preparation to succeed in the creative industries," Tcherassi stated, adding that the scholarship is a "meaningful step in that direction". She noted that the goal is for winners to "experience the real workings of a brand, which will complement their education and motivate them to create their own label and business".

Hakan Baykam, CEO and President of Istituto Marangoni Miami, highlighted the collaboration's significance, stating that it "reaffirm[s] IMM’s role as the premier gateway for Latin American excellence in fashion design". He added that by nurturing these designers, the school is "cultivating a cross-cultural dialogue that enriches the design landscape of both regions while investing in future talent".

Application details

The call for applications is open to Latin American students aspiring to work in the fashion industry. Candidates are required to submit a four-piece capsule collection, a 500-word personal statement in English explaining the collection’s concept, and both inspiration and mood boards. Tcherassi noted that the program is seeking "young creatives who offer more than passion or instinct for design," looking specifically for candidates who can develop unique proposals and effectively communicate them.

The selection process involves a rigorous evaluation by a jury composed of Silvia Tcherassi and esteemed faculty members from IMM. The panel will carefully assess each applicant’s portfolio, creativity, and personal vision.

Art Academy of Latvia will host its annual LMA Fashion Show on 29 May, bringing together emerging designers under the overarching theme “Definition,” which also connects the institution’s Design Days and Graduate Days events.

The show, taking place at Hanzas Perons, marks the 33rd edition and will explore how fashion, art and design define their role in a changing cultural landscape. The event aims to provide a platform for young designers to present collections that combine craftsmanship, material experimentation and digital approaches.

An international guest lecturer programme featuring designers from Poland, Estonia and France will accompany the show. In addition, sustainability partner AJ Power Recycling will present a circularity-focused award recognising innovative material use, with the winner receiving the opportunity to attend the International Festival of Fashion, Photography and Accessories in Hyères.

The LMA Fashion Show forms part of a wider programme of exhibitions, lectures and graduate presentations running throughout June, highlighting student work across art and design disciplines.

University of Palermo has introduced a new industry-focused workshop as part of its Bachelor of Design programme, connecting students with professionals to develop solutions for real-world projects.

The initiative is part of the “Real Works for Real Clients” programme and involves collaboration with Metrar and Solar Concept Gallery. Third-year students were tasked with creating proposals for the gallery, combining creativity with production feasibility and material considerations.

Ideas into products

Industrial entrepreneur Juan Ignacio Serrot contributed insights on manufacturing processes, while architect Sol Juárez discussed translating ideas into physical products and spaces. Students will present their projects to a jury of industry professionals at the end of the semester.

Programme director Daniel Wolf said the initiative aims to help students understand how design decisions connect with production realities and market needs. The collaboration reflects a broader trend in design education toward partnerships with industry to support applied learning and innovation.

Montclair State University students are set to present their annual fashion show, offering a platform for emerging designers to showcase original work across a wide range of styles and silhouettes.

According to coverage from Montclair Local, the student-produced event highlights creative experimentation, with collections exploring diverse aesthetics and concepts through design and styling. The runway serves as a space for students to translate coursework into finished garments and gain experience in presentation and production.

The annual show typically involves collaboration across design, merchandising and production roles, giving participants hands-on exposure to industry-style workflows. For fashion students, the event provides an opportunity to develop portfolios, while educators often view it as a culmination of practical learning and interdisciplinary teamwork.

Such university-led runway presentations continue to play an important role in fashion education, allowing students to test creative ideas in a professional setting and engage with peers, faculty and the wider community.

Students at LIM College are preparing to stage the institution’s 81st annual student-produced fashion show, bringing together established designers and emerging talent under a global theme.

The event, scheduled for April 10 at The Glasshouse in New York, will centre on “Global Fashion Fusion,” exploring how diverse cultures and international influences shape contemporary fashion. The show will feature seven scenes combining student styling, graduate collections and established industry names.

Designs by students in New York will be presented alongside work from graduates of ESMOD in France, while pieces by designer Nicole Miller will also appear in a dedicated runway segment. The production marks a trans-continental collaboration between institutions within the Japan Educational Foundation network.

The student-led show will also include styling scenes using garments sourced through Amazon Fashion, as well as additional segments featuring independent brands and alumni designers. The event is organised entirely by students, who oversee styling, production, marketing and event coordination as part of a hands-on learning experience.

Organisers say the format aims to provide practical industry exposure while highlighting emerging talent alongside established professionals, reflecting the growing emphasis on experiential learning in fashion education.

In fashion, a brand’s influence is shaped as much by the images it synthesizes as by the stories it negotiates. From the visual codes that define a high-fashion collection to the cultural conversations unfolding across digital ecosystems, fashion has evolved into a language of imagery, narrative and strategy. As the industry becomes increasingly driven by visual storytelling and radical transparency, pedagogical frameworks are evolving to meet these shifts.

To explore how fashion education is responding to these global currents, FashionUnited spoke with faculty leads Renee Jablonski and John Philip Eccles from Istituto Europeo di Design (IED). In September 2026, the institution will broaden its portfolio with two English-taught programmes: BA (Hons) Fashion Styling at the Barcelona campus and BA (Hons) Fashion Marketing and Promotion in Madrid. This expansion reflects IED’s strategy to strengthen its international undergraduate offer in Spain and respond to growing demand for professionals who can move fluidly between fashion’s creative and commercial dimensions.

Developed in collaboration with the University of Westminster, these programmes allow students to obtain a UK BA (Hons) qualification while immersed in Spain’s creative hubs. The Barcelona programme is validated by the London-based university, while the Madrid degree is awarded by it; a strategic expansion that strengthens IED’s identity as a global academic leader.

Styling: the architecture of the visual narrative

Despite their growing influence, dedicated undergraduate training for stylists has historically been limited, with many professionals entering the field indirectly through design or editorial work. For Jablonski, whose professional path spans retail, brand management and styling for film and commercial productions, the new Fashion Styling programme responds to a significant shift. “Stylists have become the image-makers of fashion today,” she explains. “They collaborate with photographers, filmmakers, designers and marketing teams to create the visual narratives that define how brands are perceived.”

The three-year curriculum explores fashion imagery through a multidisciplinary lens. Students progress from the technical foundations of image creation to the production of advanced fashion films, while engaging with cultural semiotics and art history to ensure they are not just assembling looks, but crafting imagery that resonates within a socio-economic context. “It’s not only about putting together looks,” Jablonski says. “Students need to understand the social, cultural and economic context of fashion in order to create imagery that carries meaning.”

Through workshops, media labs and project-based learning, students build a professional portfolio reflecting both conceptual depth and technical skill. “In such a saturated visual environment, developing a distinct creative voice becomes essential,” Jablonski adds. “That spark of individuality is what allows creatives to stand out.”

Marketing and promotion: negotiating shared meaning

At IED Madrid, the focus shifts to the strategic dimension of the industry. John Philip Eccles, whose career spans international fashion weeks and senior creative leadership roles, positions the BA (Hons) Fashion Marketing and Promotion as a framework for understanding contemporary brand communication. “Brands no longer sit above culture, projecting messages outward,” he says. “They exist inside culture, where audiences interpret, question and reshape what they see.”

The programme emphasizes authenticity and storytelling over linear advertising. Through project-based learning and industry-aligned briefs, students learn to balance creative ambition with commercial viability, working within budgets and timelines without losing the “romance” of a brand’s vision.

The curriculum progresses from foundational marketing principles to specialised modules in digital content ecosystems and reputation management. An optional industry placement year ensures graduates develop the “strategic clarity” required to position themselves within the professional landscape, with career paths ranging from brand strategy to content development and digital marketing.

A global classroom for ‘off the board’ candidates

A defining feature of both programmes is the presence of practitioner-educators, keeping students closely connected to the industry’s zeitgeist, what Eccles, referencing Karl Lagerfeld, describes as a “well-timed Swiss watch” of fashion relevance. Collaboration is central, with students working on real-world briefs in an international environment. Barcelona and Madrid offer complementary contexts: a design-led Mediterranean hub and a dynamic European business centre, forming a “mixing pot” of perspectives.

IED seeks “off the board” candidates: curious, driven and unafraid of ambiguity. As Eccles notes, being misunderstood can often signal originality. The programmes are designed for those ready to navigate the intersection of art, history and commerce, graduating as architects of identity. As he concludes: “Our role is to help students understand how the romance of creative direction bridges with the reality of the market. Only then does the work truly resonate.” Jablonski adds: “Through this experience, students will find their own direction and gain the knowledge to adapt to today’s industry, giving them an opportunity my generation never had.”

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

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

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

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

Partnership between education and businesses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stronger links between education and industry

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

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

Supporting future designers

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

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

Long-term industry development

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

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

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

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

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

Entries close on 6 April 2026.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'This milestone confirms the strength of our educational model'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Three acts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Expertise at the intersection of business, fashion and transformation

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

Trio of skills for EIDM

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

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

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

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

Vision for the Paris campus

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

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

About EIDM

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

About ACE Education

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

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

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

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

Designers and policymakers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Broader initiative

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

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

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

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

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

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

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

'Hacking' technology

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

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

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

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

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

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

'Amber road'

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

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

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

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

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

'Something new'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Local initiatives and programmes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Future focused portfolios

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Specialized workshops

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Technical skills and craftsmanship

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

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

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

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

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

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

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

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

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

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

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

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

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

Report

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

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

IFM show or the creative surge of a new fashion generation

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

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

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

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

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

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

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

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

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

Co, a strategic entry to the FHCM calendar

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Slower design and fewer products

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

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

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

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

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

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

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

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

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

Strengthening commercially ready graduates

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Modernizing Italian manufacturing

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

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

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

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

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

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

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

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

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

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

Finale in Paris

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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