Vogue College of Fashion BA students recently collaborated with the Vidal Sassoon Future Creatives Team on a series of six editorial photoshoots at the Vidal Sassoon HQ and Academy. Students led the styling, working alongside a professional makeup team, the Vidal Sassoon Future Creatives and the brand's professional house models. Here, Mark Hayes, Senior International Creative Director, and Richard Ashforth, International Creative Director at Sassoon, discuss the collaboration and the value of industry partnerships in nurturing the next generation of creative talent.

How did this project come about?

The collaboration grew from a shared interest in creativity, innovation, and nurturing emerging talent.

Vidal Sassoon and Vogue College of Fashion both have a strong heritage rooted in education and pushing creative boundaries, so there was a natural synergy between the two institutions.

The project began following an introductory talk delivered by Mark Hayes, Senior International Creative Director at Sassoon, where he explored the history of the Sassoon brand, its influence on modern hair design, and how creativity continues to evolve across fashion, beauty, and culture.

The talk provided students with insight into the brand's heritage, creative philosophy, and commitment to innovation.

From those conversations, it became clear there was an exciting opportunity to create a collaborative project that would allow students to engage directly with industry professionals while bringing their own ideas and perspectives to the table.

Each student team was subsequently allocated a member of the Sassoon Future Creatives team, creating a partnership that encouraged creative exchange, mentorship, and collaboration throughout the development process.

Working closely together, they explored concepts, refined ideas, and ultimately brought their creative visions to life.

The partnership became a natural extension of the shared values held by both organizations: creativity, education, and supporting the next generation of talent.

How did everyone get matched up and how did they collaborate together?

The matching process was based on creative compatibility and shared interests.

Once students had presented their initial concepts, we paired them with members of the Future Creatives team whose skills and creative approach aligned with the direction of the work.

The collaboration developed through regular meetings, both in person and online, where ideas were shared, challenged, and refined.

Mood boards played a key role in establishing visual direction, alongside references from fashion, art, architecture, music, and culture.

As the project progressed, teams continued to exchange ideas, review developments, and problem-solve together, ensuring the final looks remained true to the original vision while benefiting from professional insight and technical expertise.

How involved did you and Mark get in the project?

Richard: Our role was very much to guide and support rather than direct. From the outset, it was important that the students felt empowered to develop and own their ideas, so we were there to offer mentorship, creative feedback, and industry insight throughout the process.

Mark: The Future Creatives team was involved at key stages, helping students refine concepts, challenge their thinking, and translate ideas into achievable outcomes. We wanted to create an environment where experimentation was encouraged, while also sharing the technical and creative expertise that comes from working within the industry.

Richard: What was particularly rewarding was seeing how each team interpreted the brief in their own way. The students brought fresh perspectives and new ways of thinking, and our role was to help nurture those ideas rather than influence them too heavily.

Mark: It became a genuine collaboration. There was a great exchange of ideas throughout, and while we provided guidance when needed, the creative vision always belonged to the students.

That's what makes projects like this so exciting—the opportunity to support emerging talent while learning from them at the same time.

How vital are collaborative projects like this one – how do they contribute?

Collaborative projects are incredibly important because they bridge the gap between education and industry.

They provide students with real-world experience while giving established professionals the opportunity to engage with new perspectives and emerging ways of thinking.

Creativity thrives through exchange, and projects like this create valuable conversations between different generations of creatives.

They help build confidence, develop professional skills, and encourage experimentation in a supportive environment.

Just as importantly, they help ensure the future of our industries remains diverse, innovative, and forward-thinking.

Will you be looking to do this again in future years?

Absolutely. The success of the project has reinforced the value of creating opportunities for emerging talent to collaborate with industry professionals.

Initiatives like this are mutually beneficial; students gain insight and experience, while we gain fresh perspectives and inspiration.

We would love to continue building relationships with educational institutions and creating future opportunities that encourage innovation, creativity, and professional development.

"Industry collaborations such as this one with Vidal Sassoon are central to our ethos of providing real industry experience for our students. They learn how to work in teams across different areas of the industry giving them an up-to-date snapshot of the career landscape they are entering, as well as emerging with a CV that already includes real, tangible industry experience."—Hannah Shakir, Program Leader, BA (Hons) Fashion Communication & Industry Practice

Modern Rock Romance

Drawing inspiration from the spirit of rock icons and contemporary femininity, this collection explores confidence through movement, texture, and attitude.

Soft, undone hair contrasts with strong silhouettes and dark styling elements, creating a look that feels rebellious yet refined.

The result is a modern expression of strength, individuality, and effortless glamour.

Crowned in Texture

Celebrating natural texture as a statement of beauty and identity, this collection explores volume, shape, and presence.

Contrasting structured garments with organic forms, the looks challenge conventional notions of elegance while embracing authenticity. The hair becomes both a focal point and a symbol of self-expression.

Photographers: Mark Hayes, Richard Ashforth, and Stuart Lloyd, Makeup Artists: Beth Rich and Amy Richardson, Models: Affery and Ciara, Styling: Vogue College of Fashion Students

Ethereal Motion

Inspired by movement, light, and transformation, this collection explores the relationship between fashion and emotion.

Flowing fabrics, layered textures, and soft silhouettes create a dreamlike quality, while the hair remains understated to allow the narrative of movement and form to take center stage. The result is both delicate and powerful.

Shadow Play

This collection examines the contrast between light and dark, strength and vulnerability.

Dramatic silhouettes are enhanced through sculpted styling and directional imagery, creating a cinematic visual language.

Precision and structure are balanced with softness, resulting in a look that feels both timeless and contemporary.

Color Disruption

Playful, energetic, and unapologetically bold, this collection explores color as a form of creative rebellion.

Unexpected combinations, exaggerated proportions, and graphic styling challenge traditional fashion conventions. The look celebrates experimentation, individuality, and the freedom to redefine personal style.

Veiled Minimalism

A study in restraint and elegance, this collection focuses on silhouette, texture, and subtle detail.

Inspired by themes of concealment and revelation, delicate veiling and clean lines create a sense of mystery and sophistication.

The hair complements the simplicity of the styling, allowing the concept to speak through form and composition.

Sustainability has long been on the agenda for the fashion and textile sector; circular supply chains, material innovation and CO2 reduction are no longer new topics. A more difficult question often remains: is limiting damage enough, or should the industry also actively help restore ecosystems and communities? This shift from damage limitation to restoration is central to regenerative entrepreneurship. The European project GEN-C (reGENerative entrepreneurship Competencies for Fashion) is investigating what this approach means for higher education and is now inviting the industry to contribute.

From sustainable to regenerative

GEN-C is an Erasmus+ project (KA220-HED, December 2025 – November 2027, budget 400,000 euros), led by the Amsterdam University of Applied Sciences (HvA) in collaboration with the University of Galway, Ege University, Universidad de Vigo and EOLAS S.L. The project aims to train a new generation of entrepreneurs in the fashion and textile industry who not only limit damage but also contribute to ecosystem restoration. GEN-C builds on EntreComp, the European framework for entrepreneurship competencies, expanding it with regenerative competencies specific to the industry.

What research already shows

The project began with an extensive literature review. Researchers from the five partner institutions mapped 105 scientific publications on regenerative entrepreneurship and education. Nine core competencies were distilled from this research, ranging from systems thinking and ecological literacy to place-based knowledge and social justice in the supply chain. Notably, the competencies that most distinguish regenerative from circular approaches, such as knowledge of local ecosystems and a focus on labour justice, are least addressed in existing literature. Furthermore, methods for assessing them are almost entirely absent. These knowledge gaps now form the basis for the survey, curriculum, online course and toolkit being developed by GEN-C.

Participate in survey

GEN-C has launched a survey for educators, entrepreneurs and experts to identify the barriers and priorities surrounding regenerative entrepreneurship in the fashion and textile industry. The results will form the basis for the curriculum. Professionals working in the sector with a vision for sustainability, circularity or regenerative practices are invited to complete the survey at coresearch.qualtrics.com/jfe/form/SV_6x1ROHlfIv1iGk6. More information is available at gencacademy.eu.

Anchored in Amsterdam research and education

Within the HvA, GEN-C is part of the Fashion Research & Technology professorship led by professor Dr. Ir. Troy Nachtigall, which researches sustainable materials, digital production and circularity. The Amsterdam Fashion Institute (AMFI), the largest fashion school in the Netherlands with approximately 1,500 students in its Fashion & Textile Technologies bachelor's programme, is also closely involved. Sustainability is an integral part of its curriculum. Through the professorship and AMFI, GEN-C establishes a direct link between research, education and professional practice.

For the second consecutive year, the IED Madrid Fashion School presented its graduate show as part of Omoda Madrid es Moda.

The runway show, which introduced this format to the Madrid calendar in its first edition, strengthens the link between education and the professional world. It turns final degree projects into a showcase for a new generation of designers.

From all the submissions, a professional jury selected twelve collections for the runway. These were presented yesterday at the Espacio Jorge Juan, creating a deliberately diverse collective exhibition. The school's management claims this is “one of the main values of the event”.

“The diversity of the collections we will see on the runway today represents our greatest achievement: having contributed to training designers capable of building their own vision,” said Federico Antelo Granero, director of the IED Madrid Fashion School. He framed the school's work as a combination of “traditional craftsmanship with technological innovation”.

This edition's award went to Peio Santiesteban and his collection 'Flores para un Monstruo'. One of the looks had already been shown at the opening show of Madrid Fashion Week, held a few days ago at the Sabatini Gardens.

Beyond its aesthetic finish, the collection revealed a demanding construction, capable of creating complex architectural structures and layered fabric work. In his words, the collection was designed to explore “the fine line between violence and beauty to question who decides what a monster is”.

A high standard and diversity were evident throughout the presentation.

Alejandra Coco Bassey Oubiña, for example, started from contemporary identity and codes inherited from the past. Using tailoring as a starting point, she presented manipulated denim and structures full of construction details, with buttons that went beyond their functional purpose to take centre stage.

Sabela Yilmaz Peinó also worked with denim, presenting a frayed two-piece with a very interesting shape as part of her collection.

Penélope García, for her part, translated 'fileteado porteño', an ornamental language of urban space, onto the body. With this idea as a backdrop, curves, spirals and organic shapes formed a playful ready-to-wear collection.

In a more performance-art style, Álvaro Blanco presented 'Una tarde con amigos', a collection that, in the creative's words, “turns imagination into a refuge from rejection and loneliness”.

Following a similar light-hearted vein and moving completely away from ready-to-wear, Joane de la Quintana Urrutxurtu chose to include a colourful knitted ball as part of her 'Desastre' collection.

Istituto Marangoni Shanghai presented its 2026 graduate showcase, titled "VIA NOMADIS," on September 8 in Shanghai, transitioning from a standard runway format toward an immersive spatial and retail concept. Featuring collections from 10 graduating fashion designers alongside original media from fashion communication students, the event integrated digital projections, spatial architecture, and physical garments.

By framing student work within a broader narrative of physical and digital brand experience, the institution highlighted a strategic shift in fashion education toward multi-disciplinary competency and experiential commercial models.

Produced with technical and spatial support from digital firm Temple of Light, the showcase unfolded across three interconnected spaces designed to mirror evolving retail environments. The presentation combined a glass-lined runway passage with panoramic projection rooms that magnified garment textures, embellishments, and material details into virtual landscapes.

Operational backing from industry partners directly influenced the physical collections, with European fabric house Scabal supplying textiles and biotech materials developer SynMetabio providing innovative materials for select garments and accessories. Following the show, diplomatic representatives from Italy, Belgium, and France presented awards to graduates Liu Ziqi, Qin Ruiyang, and Zhang Han, recognizing design excellence, corporate integration, and cross-cultural craft application.

The structural redesign of the graduate showcase reflects broader recalibrations within fashion pedagogy as global retail shifts from transactional selling toward experiential storytelling. Rather than evaluating garment construction in isolation, the curriculum increasingly emphasizes conceptual development, spatial curation, and cross-media communication.

Academic leadership at the institution noted that broadening technical training into spatial design and digital media provides students with adaptable skills necessary to navigate an industry transformed by automated technologies and changing consumer behavior.

NPTC Group of Colleges has been awarded a 2026 Princess Royal Training Award in recognition of its specialized staff development programme focused on sustainability, ethical fashion, and circular design.

The educational institution was acknowledged for its faculty training initiative, which facilitated the launch of a Level 3 Sustainable Fashion qualification and its subsequent expansion into Level 1 and 2 provisions. Established by the City & Guilds Foundation, the annual award identifies organizations that demonstrate a measurable correlation between employee development and broader operational and social impact.

The college’s curriculum was developed through a collaborative partnership with the Centre for Sustainable Fashion at the London College of Fashion, making it the first further education institution in the UK to co-create a bespoke training package with the research center.

Localized industry projects

This targeted faculty upskilling has driven significant operational expansion, directly contributing to a successful Shared Prosperity Fund bid that financed the creation of the new Newtown Fashion and Textiles Academy. The practical application of this training has also resulted in localized industry projects, including a Working with Wool program and a live design brief producing garments for the agricultural mental health charity, The DPJ Foundation.

By formalizing sustainability training for educators, NPTC Group of Colleges is actively addressing a critical skills deficit within the domestic fashion supply chain. Embedding circular design principles at the foundational vocational level ensures that emerging talent is equipped to navigate shifting environmental regulations and commercial demands before progressing to higher education or the workforce.

This strategic focus bolsters the college's viability as a regional training hub while offering a scalable framework for integrating climate-conscious technical skills into fashion curricula across the broader education sector.

Seven fashion graduates from Heriot-Watt University’s Design School debuted their final collections at the inaugural Scotland Fashion Now event, hosted at the V&A Dundee from September 3 to 6. The newly established annual showcase, which featured a catwalk presentation alongside industry-led workshops, aims to spotlight emerging design talent within the Scottish fashion sector.

The graduate exhibition also integrated students from the Edinburgh College of Art, The Glasgow School of Art, and Gray’s School of Art, representing a consolidated effort to elevate the visibility of the region's academic institutions on a commercial platform.

The selected Heriot-Watt cohort presented work that addressed a broad spectrum of contemporary design methodologies, encompassing sustainable practice, technical garment development, and cultural heritage. Specific collections reflected current market trajectories and sociological themes, such as Oliver Milne’s exploration of inclusive, gender-fluid menswear and Thomas Crane’s integration of Western American silhouettes with traditional Scottish textiles.

The breadth of the showcased work, which also spanned demi-couture techniques and contemporary tailoring, illustrates a curriculum structured around both conceptual storytelling and rigorous commercial application.

The alignment of academic showcases with high-profile cultural venues like the V&A Dundee underscores a strategic push to bridge the transition from higher education to professional practice. According to Dr. Danying Yang, Programme Director for Fashion and Fashion Technology at Heriot-Watt, the event provides an essential platform for emerging designers to interface directly with industry professionals.

By facilitating these connections in a highly visible setting, the initiative bolsters the overall proposition of Scottish fashion education, ensuring that regional institutions remain competitive hubs for talent discovery and industry integration.

The inaugural Scotland Fashion Now: Graduate Showcase has brought together emerging designers from several of Scotland’s leading art and design schools, with V&A Dundee transformed into a runway for the September 3 event.

The showcase presented 83 looks by 26 graduate designers from Edinburgh College of Art, The Glasgow School of Art, Gray’s School of Art and The Design School at Heriot-Watt University. Collections explored themes including heritage, memory, conflict, sustainability and the natural landscape.

The event forms part of Scotland Fashion Now, a new annual programme running from September 3–6 that combines fashion shows with talks, workshops and industry-focused events. A separate display also featured selected textile design graduates from Duncan of Jordanstone College of Art & Design.

For fashion education, the programme provides a platform connecting graduate work with the wider industry while highlighting the range of specialisms developed within Scotland’s fashion schools, from tailoring and knitwear to textiles and sustainable design. The weekend also explored careers beyond design, including modelling, styling, production, communications and PR.

With Scotland Fashion Now planned as an annual programme, the showcase positions graduate fashion education as part of a broader effort to connect emerging creative talent with industry opportunities within Scotland.

Interview

There was a time when fashion schools primarily trained students to create. The market now demands understanding. This includes understanding pricing, margins, data, supply chains, environmental regulations, and the digital tools that are already starting to shift certain roles.

Jean-Baptiste Andreani, who has led IFA Paris since 2015, champions an educational approach rooted in this reality. Creativity remains the foundation. However, it can no longer be taught in isolation from the economy, technology, or industrial constraints that now surround every product.

This change is not immediately obvious. It cannot be seen in a fashion show. It is measured elsewhere, in emerging professions, the skills companies seek, and even in the profiles of students now entering fashion schools.

A design student must understand the cost of a collection and the price at which it can be sold. A future merchandising manager must know how to read data, but also comprehend the story it tells and what it leaves out. A marketing professional must now work with traceability, environmental footprints, and new labelling regulations. Creatives work with materials whose design involves science and technology. Everyone is evolving in an industry where artificial intelligence is already beginning to displace certain tasks.

Fashion has not ceased to be a creative industry. It has simply become much more difficult to understand in its entirety.

Since his arrival at the helm of IFA Paris, the school has grown from around 150 students to nearly 1,200 in just a decade. 70 percent of these students are international, representing 111 nationalities. This diversity also changes how students learn their craft. They not only discover other cultures; they are also confronted with different ways of thinking about fashion, the market, and business. The partnership with the American university Kent State provides a good example: each year, approximately 120 American students join IFA Paris. Internationalisation did not follow the school's development. It has gradually become central to its operations. Behind this growth, the profile of students and the content of the courses have also evolved profoundly.

People no longer come just to learn a trade. They come to acquire the keys to an industry where economic constraints, standards, technology, and data now play a role far beyond the functions with which they were traditionally associated.

Fashion remains a creative sector. Those who want to build a career in it must now know how to read more than just a silhouette.

From a 'detour' to academic leadership

Nothing truly destined Jean-Baptiste Andreani to lead one of the world's top international fashion schools. A graduate of an HEC preparatory class and then SKEMA, he seemed to be on a fairly conventional path towards major corporations. This was before what his own mother would kindly describe as an “adolescent crisis at 24”. A ticket to Asia, a somewhat improvised departure, and a first change of direction.

In Bangkok, he began by teaching English to children in a convent. The experience was brief, lasting just six months, but it would permanently alter his perspective on education.

He then discovered a gap that would become a recurring theme in his career. It is perfectly possible to transmit knowledge yet fail to prepare someone to use it. A course can be solid, well-researched, and well-structured, yet remain detached from the real demands of professional life.

This is where a conviction that would stay with him began to form. For Andreani, the 'real world' does not simply mean what is concrete or immediately useful. It refers to what will actually be expected of a graduate upon entering the market. Tools change, jobs shift, and companies alter their organisations and recruitment criteria. A static curriculum ultimately teaches an industry that no longer fully exists.

This belief likely explains his commitment to constructive doubt. He does not consider a method correct just because it has always been taught. He does not deem a practice relevant simply because it has become a sector habit. Before making a decision, one must observe, verify, understand why a company operates in a certain way, and question whether it could function differently.

The detour then becomes a career path. Andreani joined the Singaporean education group Raffles, taught marketing, became a programme director, and then academic director in Bangkok, and was involved in evaluating several campuses. He would go on to manage institutions with over 2,500 students in Bangkok and Shanghai before taking the helm at IFA Paris in 2015.

His approach to fashion stems from this career path. He does not claim to be a designer, a fashion academic, or an expert. His position is almost the opposite. He prefers to observe, question, bring professionals into the school, and challenge certainties against the realities of the sector. “I always start from the premise that I am not an expert when it comes to fashion. However, I am very curious by nature.”

The remark could be seen as a sign of humility. Yet it says a great deal about his method. Andreani would later confide in us about his own journey, “talking about oneself and one’s career is a bit pedantic, isn’t it?”.

Behind this reserve lies a pedagogical conviction. In an industry where technology, regulations, and business models evolve rapidly, knowledge cannot be considered definitively acquired. The school must provide enough knowledge to understand, but also enough perspective to continue questioning it.

Creatives must now understand business

In many organisations, functions were for a long time relatively easy to separate. Departments operated in silos. Creatives handled creation; finance dealt with figures; marketing focused on the consumer; and merchandising managed sales.

This division is becoming increasingly difficult to maintain. The profitability of a collection depends on creative choices, but also on volumes, price, materials, and distribution. A merchandising decision is based on data, but it requires an understanding of the product. An environmental policy can alter sourcing, manufacturing costs, and consequently, the final price. Traceability adds new demands to an already global value chain.

For Andreani, this complexity must be brought into the classroom. At IFA Paris, finance, accounting, business planning, and cash-flow management are not reserved for management students. Creatives must also understand the economics of what they produce. “Understanding the commercial potential of a collection, understanding market needs, and determining a price are very important things,” he explains.

The goal is not to turn a designer into a financier. It is to provide them with enough economic literacy to understand that a creation exists within a system of constraints, and that these constraints themselves help define the product. This is a significant evolution of the profession. The creative no longer works alone in front of their drawing board or software. They must engage in dialogue with merchandising, sourcing, finance, production, data, and sometimes with teams responsible for measuring the environmental impact of the product they envision. This porosity between creation and technology is also reflected in the teachings at IFA Paris, particularly around Fashion Tech. The school collaborates with industry players, notably through partnerships linked to the Avantex trade fair, and provides its students with a Fashion Tech Lab where they can experiment with new tools and applications.

The objective is not to make every creative an engineer, but to enable them to understand the technologies that are beginning to transform their profession. The school must therefore learn to speak several professional languages.

Learning to question before learning to decide

Sustainability is a good indicator of this new pedagogical approach. At IFA Paris, it is not limited to a few courses on upcycling, recycled materials, or natural dyes. Traceability, environmental footprint measurement, eco-labels, and regulations are integrated into the curriculum because they are starting to concretely change the design, manufacturing, and marketing of products.

Andreani is not seeking to replace one orthodoxy with another. He wants his students to learn to question what is presented to them as a given. Is a regulation relevant in all situations? Is an environmental promise based on sufficiently solid data? Is a material presented as more virtuous truly so when its entire life cycle is considered? What should be done when an environmental objective conflicts with an industrial or economic constraint?

“Sustainability is important, but it is not something absolute and unchanging,” he explains. The sentence aptly summarises what he means by “constructive doubt”. It is not about relativising everything. It is about not confusing a rule with a truth, an indicator with reality, or an innovation with progress.

In an industry that accumulates data, labels, standards, and technological promises, this capacity for discernment becomes a professional skill in itself. The student is therefore not just asked to memorise an answer. They must learn to understand where it comes from, compare it with other information, and form their own judgement.

This is probably one of the most profound changes in how Andreani conceives of the school. Training is not about filling a head with knowledge. It is also about learning to recognise when that knowledge is no longer sufficient.

When data enters creation

The same shift can be observed with data. One only needs to look at merchandising. It no longer relies solely on commercial skill, but on sales, stock levels, consumer behaviour, and product performance, which now inform brand decisions. This data can alter forecasts, assortments, promotions, and even production volumes.

Skills long associated with business or engineering schools are thus entering the daily work of fashion professionals. Andreani, however, refuses to replace intuition with data. The challenge is rather to learn how to work with it without surrendering one's judgement. This distinction becomes even more significant with the advent of artificial intelligence. An AI can produce, accelerate, compare, and synthesise. It does not, however, necessarily know the history of a house, its codes, its references, what has already been created, or why a particular image works within a given brand universe.

The more tools allow for the rapid generation of proposals, the more valuable the ability to select, edit, contextualise, and give meaning becomes. Technology accelerates production, but it cannot eliminate the need for judgement. It is precisely this distinction that Andreani wants to integrate into the curriculum. Students must know how to use the emerging tools, but also understand what they do, what they do not do, and how they might change their profession.

There is a world beyond design

This transformation of the curriculum automatically broadens the range of career opportunities. This is already evident in the aspirations of young students. The dream of working for a major fashion house remains. It is no longer the only destination.

Andreani encourages his students to look beyond traditional job titles and consider sectors where skills developed in fashion can find other applications. Product design, interior architecture, automotive, aviation, apparel technologies, new materials, and data analysis now offer playgrounds that students do not always consider when they first enter a fashion school.

“Do not hesitate to take detours,” he advises. The phrase obviously resonates with his own journey. The man who began by teaching English in Asia before leading a fashion school does not advocate for a very linear career path. His career almost serves as a practical demonstration of his pedagogical approach.

Fashion education today can lead to careers in spatial or furniture design, automotive and aeronautical cabin ergonomics, biomaterials research, or commercial data analysis. One student might be drawn to materials and end up in a laboratory. Another might start with the product and find themselves in data analysis or predictive merchandising.

This shift also says something about the new audience for fashion schools. You still find young people who dream of creation and luxury, but also profiles attracted by technology, business, materials, sustainability, or data. Fashion is becoming less of a single profession and more of a professional territory, with pathways to other industries.

Ultimately, Andreani applies to education what he has experienced in his own career. He often quotes Karl Lagerfeld and his saying that “fashion is not about prescribing, it’s about proposing”. The school, in this view, should not dictate a professional trajectory. It must provide enough culture and confidence to allow for change.

Why the US matters so much

This openness is reflected in IFA Paris's international strategy. The US is now its primary recruitment market. The goal is not simply to accumulate partnerships on a world map. Jean-Baptiste Andreani insists on another criterion: the compatibility of programmes and pedagogical philosophies.

Bringing in American, Indian, or Chinese students does not just serve to internationalise a class. It exposes students to different ways of looking at the product, the consumer, the market, and the business.

The project with Kent State around New York Fashion Week is a case in point. Students are tasked with dressing robots, bringing together technology, creation, and experimentation. India is also a significant recruitment market for IFA Paris. Here again, the issue goes beyond geography. Andreani seeks partners who can share the same high standards for curricula and the skills imparted.

Jean-Baptiste Andreani knows what this openness brings. Stepping outside a single framework broadens the range of solutions. A student who has only known one way to produce, sell, or think about fashion is more likely to take that way for granted. They are more likely to arrive at the same solutions as their peers. International exposure is precisely what shatters this assumption.

Leaving school before even graduating

For Andreani, you do not truly prepare a student for the professional world just by talking to them about it. You must make them encounter this world, with its codes, rejections, silences, and constraints.

At IFA Paris, first-year students are encouraged to meet companies directly, introduce themselves, and submit their CVs. At a time when a large portion of applications go through platforms, online forms, and sorting software, the exercise might seem to belong to another era.

One must learn to face rejection before having to deal with it from a recruiter. They must learn to rephrase their pitch, understand why a CV is not working, and look their interlocutor in the eye. They also discover that a company does not just hire a qualification, but someone capable of understanding its environment and finding their place within it.

The institution should not shield the student from the reality they are about to face. It must allow them to confront it early enough to learn how to navigate it.

The challenging professor is sometimes the one you remember

Andreani thus gives significant importance to professionals from fashion houses and the industry. This is not only because they have mastered a technique, but because they know what that technique becomes when it meets a budget, a deadline, a client, or an organisation.

He recounts the case of a particularly demanding lecturer in finance and merchandising. Her classes were not always the most popular among students. Several years later, however, some returned to thank her after joining major houses. A good professional school is not necessarily meant to tell students what they want to hear. It must sometimes impart what they will only later discover they needed.

Meeting a company, working on a real case study, or tackling a difficult subject may be less appealing than a creative exercise. It is no less formative.

The professor who is a little challenging today may be the one a student remembers ten years from now.

Training for adaptability rather than a single profession

What Jean-Baptiste Andreani seems to advocate is that a school cannot know exactly what fashion careers will look like in ten years. It can, however, prepare its students not to be helpless when they do change.

Traceability, data, environmental regulations, new materials, artificial intelligence, and evolving consumer behaviour. Each of these transformations can create new roles or profoundly alter existing ones.

The answer, therefore, is not necessarily to specialise students ever more. It is to give them a broad enough foundation to understand the relationships between different professions. They must know how to create, but also understand a market; analyse data, but also understand a product; know a technology, but also its limitations; and comprehend an environmental issue, but also its economic and industrial consequences.

Fashion will continue to need creators. It will need creators who can communicate with financiers, engineers, data analysts, supply chain teams, and sustainability managers.

This is probably where Jean-Baptiste Andreani's journey comes full circle. The man who started with a detour in Asia now leads a school that teaches students precisely not to be afraid of detours. Knowing what you want to become is the first step; knowing how to learn to become something else is now the real key.

Taiwan’s Fu Jen Catholic University will mark the tenth anniversary of its FJU Talents initiative during London Fashion Week on September 19, 2026, showcasing four emerging Taiwanese designers alongside a retrospective of alumni work at Fashion Scout.

Spearheaded by the university's Department of Textiles and Clothing, the platform serves as an institutional bridge between East Asian tertiary fashion education and the global fashion ecosystem. The upcoming presentation underscores how academic institutions are leveraging international showcase platforms to establish global market access and commercial viability for emerging graduate talent.

The 2026 cohort features recent graduates Min-Hsin Yu, YUI Kao, and Ting Hsuan Chang, alongside returning alumna Alison Lai, who previously participated in 2019 and launched her independent label (She)nanigans in 2024. Their collections incorporate technical textile manipulations, including hand crochet, inverse-rib knits, and deconstructed tailoring, to explore conceptual themes ranging from identity construction to socio-cultural structures.

By pairing current graduates with alumni who have established independent commercial labels or pursued advanced studies at international institutions like Parsons School of Design, the showcase illustrates the longitudinal career trajectories enabled by the platform.

The platform's decade-long operation highlights an evolving strategic model for fashion higher education, where academic departments actively manage international press relations, sales representation, and global runway presentations as extensions of their core curricula.

As regional fashion hubs seek greater global integration, institutional initiatives like FJU Talents lower the capital barriers that traditionally impede young designers attempting to access international trade networks. This synthesis of rigorous technical education and structured industry exposure reinforces the critical role academic institutions play in transitioning design talent into sustainable professional practice.

German designer Jon Liesenfeld has been awarded first prize at the Redress Design Award 2026, held on 7 September at Centrestage in Hong Kong. Organised by Hong Kong-based environmental NGO Redress, the competition selected Liesenfeld from a final pool of eight international designers representing Hong Kong, mainland China, the United Kingdom, Austria, and Israel.

Addressing an industry context where an estimated 80 percent of a product's environmental impact is established during the initial design phase, the platform evaluates emerging designers on their integration of circularity, repairability, and waste mitigation strategies.

Finalists developed collections using circular design methodologies, sourcing materials from factory surplus, excess stock, and discarded garments. Beyond the runway, the competition incorporated commercial application through its 'Remake to Retail' project, in which finalists collaborated with garment manufacturer TAL Apparel to re-engineer post-consumer clothing waste into retail-ready pieces scheduled for distribution via retailer D-mop.

For his winning collection, Liesenfeld received an educational mentorship trip to inspect British fashion operations, including high-volume supplier Simple Approach and luxury house Roksanda. Hong Kong designer Jasmine Cheuk secured the runner-up position, gaining a mentorship with industry activist Orsola de Castro, while Tal Zohar of Israel received the public vote.

The results highlight an ongoing skills gap within academic institutions, where research indicates that mainstream fashion design curricula rarely embed sustainable principles into core instruction. With global textile waste standing at 120 million tonnes annually and global textile circularity at 0.3 percent, regulatory measures, such as the European Union’s Ecodesign for Sustainable Products Regulation and extended producer responsibility laws, are increasing pressure on brands to adapt operational models.

Programs like the Redress Design Award, which has delivered training to over 36,500 designers and educators, demonstrate how targeted industry initiatives are working to align tertiary design education with evolving regulatory and supply chain demands.

Belgian fashion designer Julie Kegels has won the LVMH Prize for Young Fashion Designers 2026, reports WWD. The prize was awarded on Friday during a ceremony at the Fondation Louis Vuitton in Paris.

The main prize includes a cash prize of 400,000 euros, supplemented by a year of coaching from experts at the luxury group LVMH.

Kegels launched her fashion label in 2024, shortly after graduating from the Royal Academy of Fine Arts in Antwerp. In April, she was selected as one of the nine finalists for the thirteenth edition of the LVMH Prize for Young Fashion Designers.

The Karl Lagerfeld Special Jury Prize went to Lii, the label by Chinese designer Zane Li. The award was presented by Indian actress, film producer and singer Priyanka Chopra, who is also a face of Dior. The prize includes a cash award of 200,000 euros and a year of mentorship covering areas such as sustainable development; communication; copyright and corporate legal affairs; marketing; production; and financial management.

The Savoir-Faire Prize went to Yoshita 1967, the label by Kenyan designer Anil Padia. This prize also includes a cash award of 200,000 euros and a year of mentorship. The award was presented by Louis Vuitton ambassador Urassaya ‘Yaya’ Sperbund, who was also part of the jury.

Other finalists

Alongside Kegels, Lii and Yoshita 1967, the other finalists were Petra Fagerström from Sweden; De Pino by French designer Gabriel Figueiredo; Ponte by British designer Harry Pontefract; The Vxlley by Spanish designer Daniel del Valle Fernandez; Institution by Georgian designer Galib Gassanoff; and American designer Colleen Allen.

After a highly competitive selection process, MA Fashion Journalism and Editorial Direction student Jade Moffett completed the Condé Nast Fellowship at Tatler, gaining firsthand experience across editorial and digital publishing. In this reflection, she shares insights from working alongside industry professionals and contributing to content for one of the world's leading luxury lifestyle titles. I began my two-month work placement with Tatler magazine inside the Adelphi building, tucked away in a corner office. Tatler is a magazine synonymous with glamour, class, and an “in-the-know” British lifestyle. From my very first day, I was immersed in the fast-paced world of magazine journalism.

My role was split between working at the digital desk on Wednesdays and the print desk on Thursdays.

Although the teams worked separately, the environment was incredibly collaborative and welcoming of each other’s ideas and perspectives. I was immediately embraced by a team that was eager to teach me.

From sitting in on and pitching at feature meetings to sifting through archival issues for my first print byline—a throwback feature for Tatler‘s July issue—every task offered valuable insight into the editorial process.

My main role at the digital desk was supporting the development of written pieces for publication on Tatler.com. I also assisted the social media team by writing Instagram captions and supporting the production of short-form video content. One of my favorite experiences at the digital desk was writing my first theater review on the Oscar Wilde adaptation, An Ideal Husband.

Throughout my Fashion Journalism and Editorial Direction MA program, I became well-versed in a variety of article formats, including interviews, op-eds, reviews, trend reports, and long-form features.

At Tatler, I was able to translate those academic skills into a professional editorial environment with a distinct style and tone. Refining my writing to align with Tatler‘s voice was both the most challenging and the most exciting aspect.

At the print desk, the pace and approach differed, as the team worked three months ahead of each issue. I conducted in-depth research into Tatler-esque events taking place around the publication date, from major fashion exhibitions and film or book releases to British socialites’ weddings.

Before beginning my fellowship with Tatler, I was prepared to do any kind of work and learn as much as I could about every aspect of how a magazine operates within the fashion industry and journalism more broadly. I was incredibly fortunate that the experience exceeded my expectations.

I can confidently say I now have a concrete understanding of how a magazine publication operates and how the fashion industry works in tandem with editorial publications. Working in this industry requires adaptability and a willingness to learn across a range of environments.

During my placement, I gained a newfound confidence in my writing. The continuous opportunities for feedback and constructive criticism significantly strengthened my editing skills and encouraged deeper reflection on my work.

I also realized I was interested in fashion styling and PR, which I had never considered before being exposed to those roles.

There are so many moving parts involved in producing a magazine issue, and I found it incredibly rewarding to be in the office and watch everything come together.

From sitting in meetings where ideas were first generated to watching those concepts come to life on a photo shoot was incredibly inspiring.

One of my favorite tasks was sourcing clothing imagery cutouts from major fashion brands and PR agencies for the trend pages of an upcoming issue.

Although it involved plenty of back-and-forth emailing, I enjoyed seeing the behind-the-scenes process of how those pages were brought together.

Having had the privilege of completing my work placement at Tatler has certainly shaped the trajectory of my career in the most positive way.

After being immersed in a magazine with such a rich history, a brilliant team, and the utmost professionalism, I feel well-equipped to take on challenging projects and reach beyond what I think I am capable of.

The insight I gained during my work placement assured me that there are many different roles within the fashion industry and that it is possible to be involved and build a fulfilling career without limiting yourself to a single path.

It also showed me that I could make a meaningful contribution in ways I had never previously considered, broadening my understanding of where my skills in journalism and fashion intersect and helping to launch my career in the industry.

Explore graduate programs at Vogue College of Fashion

The Council of Fashion Designers of America (CFDA) Foundation and the Bezos Earth Fund have selected the inaugural recipients of the Next Thread Initiative Scholarship, a new funding program aimed at supporting fashion students working on sustainability and climate-related design challenges.

The scholarship forms part of a $6.25 million, three-year partnership between the two organizations. Of the total, $1.5 million is earmarked for scholarships for undergraduate and graduate students pursuing sustainable fashion design.

The initiative takes a specific approach to sustainability, asking students to address fashion’s impact on nature and climate through their design work. Awards are intended to help reduce financial barriers while supporting academic and creative development. Scholarship funding covers tuition and mandatory fees, with additional stipends available for materials, thesis work and studio expenses.

The program reflects a broader shift in fashion education toward integrating environmental considerations with design practice rather than treating sustainability as a separate specialization. Its first scholarship cycle targeted full-time undergraduate students entering their junior or senior year, as well as first-year master’s students at U.S. colleges and universities.

For fashion schools, the initiative adds another industry-backed funding route for students developing work around material innovation, circularity and lower-impact production, while highlighting the growing role of sustainability in emerging-design education.

Fashion education is becoming increasingly diverse, with programmes spanning design, merchandising, styling, communication and other specialist areas across universities, art schools, technical colleges and community colleges.

Fashionista’s 2026 Fashion Education Guide highlights the breadth of options now available to prospective students, reflecting an industry in which traditional fashion design is increasingly connected to business, media, technology and new forms of creative practice. Its directory covers hundreds of programmes in the US and internationally.

The publication’s recent coverage also points to some of the pressures shaping fashion education. Schools and educators are examining the influence of social media and algorithms on creative work, adapting fashion journalism curricula to platforms such as TikTok and newsletters, and considering how artificial intelligence is changing students’ career expectations and working practices.

Pre-college and summer courses

Alongside degree programmes, pre-college and summer courses are expanding access to fashion education. The 2026 offerings highlighted by Fashionista range from design, garment construction and styling to merchandising, fashion media, photography, entrepreneurship and trend forecasting. Some programmes combine classroom teaching with studio practice, industry visits, guest speakers or college credit.

The result is a fashion education landscape that increasingly mirrors the complexity of the industry itself. Rather than preparing students for a single role, contemporary programmes are offering routes into a wider ecosystem of creative, commercial and increasingly digital careers.

Saudi Arabia is continuing to build the educational infrastructure around its expanding fashion sector, with initiatives increasingly linking academic training, professional development and industry experience.

Recent programmes from the Saudi Fashion Commission have included executive education developed with international institutions. In December 2025, the Commission announced an Executive Master’s in Strategic Management of Fashion & Luxury in collaboration with Institut Français de la Mode (IFM). The 15-month hybrid programme combines study in Riyadh and Paris with online learning, covering areas including design, brand strategy, sustainability, consumer behaviour, retail innovation, fashion media and collection management.

The wider education strategy also extends into technical and professional skills. A partnership with the Saudi Retail Academy, announced in February 2026, aims to develop national talent, while earlier programmes with Istituto Marangoni have provided training in fashion history, styling, performance and modelling.

Manufacturing is emerging as another focus. In May, the Fashion Commission signed an agreement with Italian fashion manufacturing group MinervaHub covering knowledge exchange, textiles, resources and advanced production technologies. The partnership is intended to strengthen local capabilities across design, development and manufacturing.

The developments reflect a broader shift in how fashion education is being positioned within Saudi Arabia: not simply as preparation for design careers, but as part of a developing ecosystem spanning creative practice, business, retail, technology and production. The Commission has also continued to provide international platforms for Saudi designers through initiatives such as Saudi 100 Brands.

For fashion educators, the direction is notable for its emphasis on connecting curriculum with the infrastructure required to sustain a domestic fashion industry. For students, it points towards a widening range of potential pathways — from design and luxury management to merchandising, manufacturing and entrepreneurship — as Saudi Arabia seeks to develop a more integrated fashion economy.

What does the creative industry of tomorrow demand from makers, brands and creative professionals? During GLUE Amsterdam, Artemis Academie will present Creative Industry Voices from September 17 to 19. This will feature three days of free talks from leading makers, designers, thinkers and creative leaders.

The programme also offers plenty of inspiration for professionals and talent from the fashion and lifestyle industry. Mijke van Ballegooijen, CEO of BYBORRE, will share her vision on textile innovation. She will also address how radical creativity can contribute to a more transparent and responsible textile system.

Roman Stikkelorum, co-founder and managing director of Verve, will explore the meaning of beauty, branding and cultural relevance. He will discuss why beauty is particularly relevant now and how brands can create meaning through design and culture that goes beyond mere form.

The changing role of creative talent will also be discussed. During a panel discussion, Coco Padding (Medusa Medusa), Jur Baart (Fitzroy) and Motilayo Williams (formerly of Monks) will explore the creative team of the future. They will address what AI and hybrid disciplines mean for collaboration. With more people becoming creators, the panel will also consider the future criteria for selecting creative talent. Will it be based on technique, taste, vision or the ability to create something truly unique and culturally relevant?

The programme also covers material research, reuse and co-design, as well as healing aesthetics, culture and creative entrepreneurship. These different disciplines and perspectives are all connected by a creative industry that is constantly evolving.

In addition to Van Ballegooijen, Stikkelorum, Padding, Baart and Williams, there will be talks by Janine Toussaint (Moving Arts Project), Sheryl Leysner (Ruwe Bolster), Oep Schilling (Fiction Factory & Wikkelhouse), Tanja Soeter (creative director), Martina Halsema (formerly of Amsterdam Art) and Rubiah Balsem (Studio Balsem).

Creative Industry Voices @ Artemis × GLUE is free to attend for students, professionals and other curious minds from the creative and cultural sectors. Attendees can join as many talks as they wish. However, places for each talk are limited, so advance registration is required.

Manchester Fashion Week returns from 9 to 12 September 2026 across the city's St John's neighbourhood, debuting a restructured four-day model designed to address structural industry challenges rather than traditional seasonal trend forecasting. Organised in partnership with sustainability consultancy Eco-Age, the programme focuses on supply chain mechanics, synthetic fibre dependency, supply chain ethics, and the economic impact of artificial intelligence integration.

To enforce operational accountability, event producers have partnered with Collective Fashion Justice to institute a mandatory minimum materials standard, banning fur, wild animal skins, and wild bird feathers, while restricting leather use strictly to circulating deadstock or pre-owned materials.

The schedule distributes core industry issues across distinct daily thematic tracks, beginning with nearshoring strategies, supply chain resilience, and material innovation before shifting focus to repair economics, textile circularity, and adaptive design access. Technical sessions feature panel discussions on data traceability, values-driven corporate leadership, and digital design automation, alongside practical forums addressing career viability for emerging designers.

Participating brands and runway presentations include regional and international labels such as Kit Giroux, Gbadebo, Victoria Jenkins, and Uganda's IGC Fashion. Keynote speakers and panellists featured across the four-day schedule include Katharine Hamnett, Lynne Franks OBE, and Tamsin Blanchard.

From an institutional perspective, the event demonstrates a shift toward integrating regional talent pipelines directly into event infrastructure. Supported by the Northern Fashion Collective, the week expands on a year-round educational framework that includes K-12 engagement and higher education collaboration. Over 270 pupils across nine local schools completed a textile redesign initiative, with the resulting work assembled into a public installation by University of Manchester students under funding from Accenture.

Supplemental community programming includes the Sewing Circles initiative, which provides vocational training in pattern cutting and microenterprise skills for disenfranchised demographics, positioning the regional event as an active site for skills acquisition and workforce development.

Recent consumer research from Cotton Incorporated indicates a shift toward natural fibers and circular practices during the 2026/2027 back-to-school shopping season. According to the organization’s latest data, 74 percent of surveyed US parents prefer cotton apparel for their children, driven primarily by preferences for comfort, breathability, and softness, while 59 percent express an explicit intent to avoid garments containing microplastics.

The data arrives alongside purchasing behavior shifts where 92 percent of parents plan to buy new apparel, even as 71 percent anticipate higher overall expenditure due to rising individual garment prices.

To capture these consumer preferences and divert post-consumer waste from landfills, the organization continues to scale its "Cotton Lives On" recycling initiative. Operating in the UK alongside retail partners such as Marks & Spencer, Margaret Howell, Whistles, and Bianca Saunders, the programme collects discarded cotton garments and processes them into high-density roll mats for individuals experiencing homelessness. To date, the effort has collected approximately 8,000 kilograms of cotton in the UK, translating to over 100 mattresses, with each unit utilizing the equivalent of 45 cotton T-shirts.

The initiative aligns with regulatory changes in the UK market starting September 2026, which restrict mandatory branded uniform pieces to three items per student to improve affordability and garment reuse.

For fashion education institutions and academic leaders, these developments underline a growing market demand for integration of textile circularity and lifecycle analysis into core curricula.

As regulatory pressure and consumer awareness surrounding microplastics and end-of-life garment management increase, design and business programs must pivot beyond basic material sourcing to address practical recycling infrastructure, scalable closed-loop systems, and post-consumer textile transformation.

Equipping students with a data-driven understanding of supply chain end-points and retail recycling alliances ensures future designers and merchandisers remain strategically aligned with evolving industry standards.

The Hong Kong Designers Association, the School of Design at The Hong Kong Polytechnic University, and Alibaba International Design signed a memorandum of understanding during the Hong Kong Design Summit 2026 to develop joint educational initiatives centered on artificial intelligence. The tripartite agreement establishes a framework for co-developing academic and professional training programs, advancing industry-academia research, and holding regional events across the Greater Bay Area. The partnership aims to accelerate the integration of design technology within higher education while addressing evolving skill requirements in the creative industries.

Operational initiatives under the agreement focus heavily on curriculum modernization, starting with specialized courses targeting artificial intelligence applications in creative design workflows. By leveraging technical infrastructure from Alibaba International Digital Commerce Group alongside academic frameworks from The Hong Kong Polytechnic University, the program attempts to bridge systemic gaps between institutional design instruction and corporate technology deployment. The broader summit structure also incorporated structured business matching sessions designed to connect independent commercial firms directly with enterprise design procurement opportunities.

For higher education institutions, the initiative underscores a shifting paradigm wherein traditional creative pedagogies must align directly with artificial intelligence capabilities and enterprise software ecosystems. Access to proprietary technology frameworks through industrial partners provides students with practical technical exposure, potentially increasing immediate post-graduation viability in commercial sectors. Furthermore, the focus on cross-border integration within the Greater Bay Area signals growing institutional necessity to build regional industry pipelines that support design-tech commercialization beyond local markets.

Interview Twenty years ago, Lichting began as a platform for the best graduate collections from Dutch fashion academies during Amsterdam Fashion Week. It has since grown into an important launchpad for a new generation of designers. Former participants have started their own labels or gone on to work for fashion houses such as Louis Vuitton, Dries Van Noten, Gucci and Viktor & Rolf. For some, Lichting was their first professional platform; for others, it was the decisive push towards an international career.

The Textile Institute's Manchester & the North West Section has issued a call for abstracts for its fifth annual Textiles and Life Conference, scheduled to take place on November 11, 2026, in Manchester, UK. Centered on the theme "Textiles for People and Planet," the student-focused event invites postgraduate researchers to present ongoing research, innovative methodologies, and emerging projects to standard industry stakeholders and academic peers. Abstract submissions are open through September 21, 2026, targeting oral presentations and scientific poster displays.

Selected participants will present across several core operational and technological tracks, including sustainable and circular textiles, recycling and waste management systems, innovative textile materials, and smart or functional fabrics. Presentations will also cover human-centric sectors such as textiles for health, wellbeing, and social inclusion within the supply chain. Standard oral presentation slots are allocated 15 minutes for delivery followed by a five-minute Q&A session, requiring applicants to submit concise abstract summaries of under 250 words detailing their research purpose, key findings, and industry relevance.

By establishing an academic platform dedicated to sustainability and advanced material science, the conference reinforces the critical role of postgraduate research in addressing structural environmental challenges within the global textile ecosystem. For educational institutions and postgraduate students, participating in such industry-backed forums offers essential institutional validation, fosters cross-disciplinary collaboration, and aligns academic curricula with the evolving technical demands of sustainable textile manufacturing.

The Fashion Design Institut Düsseldorf released details for its Class of 2026 graduate showcase, which presented 35 student collections last month, at La Galerie Bourbon during Paris Fashion Week. The event featured editorial work and physical looks created by the institution's graduating cohort, targeted at an international audience of industry professionals, press, and buyers.

The showcased works incorporated diverse methodological approaches, blending digital and physical textile development with structural pattern cutting. Collections such as Miriam Haddad’s "GEN BETA MOM TO BE" investigated hybrid physical-digital garment design, while Swetlana Lutz Spitzer’s "Versailles" applied architectural geometry to modular textile construction.

Other graduate projects focused on technical material execution, including Noah Hofmann’s use of recycled, hand-dyed fabrics, Ema Dizdarevic’s combination of traditional Bosnian crochet with industrial knitwear, and Kaschma Saleh’s tactile focus on sensory design for visually impaired demographics.

By securing a platform within Paris Fashion Week, the Fashion Design Institut Düsseldorf reinforced its institutional positioning and market integration for emerging talent. Providing graduates direct exposure to international luxury buyers, media, and design houses served as a critical bridge between academic instruction and commercial feasibility.

The inclusion of multi-disciplinary methodologies—spanning digital fashion, sustainable material processing, and specialized adaptive design—reflected evolving curricular standards designed to address shifting supply chain and technological requirements across the global apparel industry.

The Fashion Institute of Technology (FIT), part of the State University of New York (SUNY), has announced the appointment of Kimberly Fasting-Berg as the college's first chief marketing officer (CMO). She reports to FIT president Jason Schupbach and serves as a member of the president's cabinet, effective August 25, 2026.

"Kim's expertise in leading the evolution of world-class brands will be instrumental in shaping the future of FIT," said Schupbach. "As an innovator with an exceptional reputation—and as a SUNY alum—Kim is ideally positioned to build on FIT's momentum to expand the college's impact across the global creative industries."

Fasting-Berg brings extensive brand strategy and commercial expertise to the newly created role, where she oversees marketing strategy, global brand positioning, and institutional communications for the institution. The strategic appointment aims to strengthen the global profile of FIT and drive strategic growth across its educational and industry programmes.

"FIT sits at the intersection of creativity, technology, business, and culture—exactly where the future of the global economy is heading. From a marketing standpoint, the college is at a once-in-a-generation inflection point—and President Schupbach's extraordinary vision of FIT as a laboratory for creative careers will serve the next generation of talent with a phenomenal roster of programs, rankings, and alumni that rival any institution in the world," Fasting-Berg added.

Prior to joining FIT, Fasting-Berg held senior executive marketing roles across major media and entertainment portfolios. She most recently served as executive vice president, chief marketing officer at WME Fashion. Previously, as CMO of Kravet, she led the marketing evolution of the company's portfolio of home furnishings brands. She also spent more than a decade at Condé Nast in senior leadership roles, including head of marketing for Vogue, GQ, Vanity Fair, Glamour, and Allure. Fasting-Berg graduated from SUNY's University at Albany, where she earned a BA degree in communications and marketing.

Global fast-fashion retailer Shein has announced its second annual back-to-school campus tour, targeting seven higher education institutions across the East Coast and Southeast region between August 19 and September 11. The experiential marketing initiative is designed to drive direct engagement during university Welcome Week events while expanding the company’s collegiate influencer infrastructure. The activations feature branded pop-up installations, app-download incentives, social media challenges, and direct recruiting pipelines for the retailer's dedicated ambassador network.

UNC Charlotte, North Carolina A&T State University, University of Central Florida and more

The touring itinerary encompasses a diverse mix of large public research institutions and historically Black colleges and universities, including UNC Charlotte, North Carolina A&T State University, University of Central Florida, Kennesaw State University, Georgia Institute of Technology, and Rutgers University-New Brunswick. By offering exclusive merchandise tiering linked to app installations and content creation on TikTok and Instagram, the operational strategy leverages student-generated media to amplify local brand reach. Currently maintaining over 17,000 active student representatives, the retailer reports having distributed more than 30 million dollars in cumulative affiliate commissions to program participants to date.

For fashion educators and academic leadership, the rapid expansion of peer-to-peer affiliate networks on college campuses underscores a critical shift in how retail conglomerates interact with student demographics. While the program offers tangible compensation models and introductory exposure to social commerce, digital marketing, and event production, it simultaneously complicates the physical campus environment by embedding commercial sales targets within student peer groups. As ultra-fast-fashion entities strengthen their institutional presence, academic institutions face ongoing pedagogical debates regarding student labor practices, consumer ethics, and the corporate integration of collegiate social ecosystems.

Thailand’s Suan Sunandha Rajabhat University (SSRU) has established a strategic partnership with the Italian Institute of Fashion Management (IIFM) in Milan to launch "Experience the Italian Essence: Milan Edition 2026." Unveiled on August 14, 2026, at SSRU's Faculty of Fine and Applied Arts, the initiative marks IIFM’s initial institutional collaboration within the Thai higher education sector. The executive-level program aims to directly bridge Southeast Asian academic frameworks with European luxury business practices through a combination of institutional coursework and direct industry engagement in Italy.

Scheduled for October 19–28, 2026, the 10-day intensive curriculum targets creative entrepreneurs, designers, industry executives, faculty members, and postgraduate students. Delivered in English, the program blends academic lectures by IIFM faculty and industry consultants with tactical operational exposure. Course modules focus on four primary pillars: luxury brand management, creative process formulation, artisanal production, and value creation strategies. Field-based components include visits to production facilities and design studios within Milan's Quadrilatero della Moda, alongside retail analysis at Fidenza Village and cultural immersion in Franciacorta and Lake Como.

From an institutional standpoint, the joint certification model highlights growing demand for localized academic frameworks that offer cross-border, industry-integrated specialization. For emerging markets like Thailand, direct access to European luxury supply chains and brand management expertise addresses critical curriculum gaps in international market positioning and heritage brand execution. By embedding faculty and postgraduate researchers alongside active market practitioners, the partnership provides a structural template for regional universities seeking to elevate academic credibility and global relevance without establishing full off-site campuses.

Fourteen graduates from the Royal Danish Academy’s Master of Arts program, Fashion, Clothing and Textiles – New Landscapes for Change, will present their thesis collections during Copenhagen Fashion Week this August. The runway presentation marks a key transition for the cohort as they move from academic study into the global fashion industry. The collections address themes of identity, belonging, uncertainty, and hope, framing fashion design as a lens through which young designers process contemporary cultural and social shifts.

The showcase highlights a range of advanced material applications and textile techniques, reflecting the cohort’s background in tailoring and textile development. Featured garments incorporate handcrafted fabrics, bold printmaking, specialized knitwear, weaving, and precise color work developed via hand-dying processes. Although based in Copenhagen for the duration of the two-year program, the international student body brings design perspectives informed by origins in Myanmar, Germany, Finland, Denmark, and China. This geographic diversity manifests in an exploration of localism, with several graduates utilizing raw materials, craft techniques, and narratives drawn directly from their native regions.

From an educational standpoint, the integration of graduate shows into a major international fashion week reflects a strategic alignment between academic institutions and commercial platforms. By embedding thesis presentations within Copenhagen Fashion Week, the Royal Danish Academy provides its graduates with direct exposure to global industry buyers, media, and talent recruiters. According to Marcus Aminaka Wilmont, assistant professor and head of the program, the projects demonstrate how material manipulation and garment design can function as analytical tools to address sustainability, cultural preservation, and evolving social dynamics within the broader fashion ecosystem.

Twenty design students from the Politecnico di Milano have developed a capsule collection utilizing upcycled materials recovered from Volvo vehicles, culminating in a presentation scheduled for September 22 at Volvo Studio Milano during Milan Fashion Week. Launched in March in collaboration with print laboratory VerySeri Studio and creative group Collettivo AAA, the initiative titled "The Daily Crash" structured a multi-month project around direct material experimentation. Rather than working through standard theoretical briefs, the participating students completed six instructional phases—encompassing professional reviews, technical lectures, and hands-on laboratory work—to transform automotive scrap into structural garments and objects.

The operational framework relied on using Volvo Studio Milano as an open workshop space and Cascina Cuccagna’s VerySeri Studio for physical garment production. Guided by industry specialists including stylists, set designers, and sound artists, the cohort produced five primary garments designed to be showcased alongside an immersive performance installation. The final collection explores five stages of physical impact and recovery, mirroring automotive crash-test protocols and technical safety testing. The initiative directly integrates salvaged industrial components into high-fashion design, requiring students to solve structural and tactile challenges inherent to non-traditional textiles.

From an educational standpoint, the partnership addresses a persistent structural gap between academic coursework and the operational demands of the fashion industry. By replacing simulated briefs with tangible production constraints, real material sourcing, and public presentation deadlines, the initiative offers a scalable model for experiential learning. Furthermore, anchoring student output in automotive waste directly reflects the shifting demands of modern fashion curricula, which increasingly prioritize material circularity, interdisciplinary collaboration, and real-world supply chain problem-solving.

British footwear and accessories retailer Kurt Geiger will expand its educational reach on 1 September 2026 with the launch of Business by Design Online, a free digital learning platform developed by its charitable arm, the Kurt Geiger Kindness Foundation. The rollout is timed to coincide with the start of the British Fashion Council's month-long Fashion Britain events taking place across the United Kingdom. Developed as a digital evolution of the retailer's London-based academy, the initiative aims to decentralize entry into the fashion industry by delivering self-paced vocational learning to aspiring professionals outside the capital.

The curriculum covers the core operational and commercial stages of the fashion lifecycle, including design, buying, product development, retail management, marketing, and digital operations. Delivered through video modules, interactive coursework, and corporate case studies, the platform is supplemented by live digital masterclasses led by creative directors, stylists, and trade executives. Representative teams from the foundation will maintain an operational presence across the regional Fashion Britain event sites throughout September to demonstrate the learning interface and drive recruitment among prospective talent.

The launch underscores a broader structural effort within the British fashion sector to address long-standing geographic and economic barriers to entry. By digitizing industry-led instruction and offering open-access entry, the programme presents an scalable alternative to traditional, high-cost academic pathways. For educational institutions and industry leaders, the initiative highlights a growing trend of corporate-led workforce development programs designed to diversify early-career talent pipelines and better align foundational skills with current market demands.

The British Fashion Council has announced the launch of Fashion Britain, a strategic nationwide initiative designed to decentralize fashion investment and broaden industry access beyond London. Operating as part of the organization's Strategy 2030 roadmap, the program will deploy this September across six cultural centers: London, Liverpool, Manchester, Newcastle, Bristol, and Edinburgh. The move follows the pilot launch of the council's Fashion Assembly, which introduced tailored fashion curricula to primary and secondary schools. By expanding its operational focus to regional hubs, the council aims to establish long-term economic infrastructure and creative support outside the capital.

Under the leadership of Chief Executive Laura Weir, Fashion Britain will execute a structured program encompassing public events, cultural collaborations, local retail experiences, and designer panel discussions. A central component of the rollout includes a partnership with magazine publication ELLE UK to produce the National Designer Panel Series, bringing established fashion figures into direct engagement with regional audiences and emerging talent. The operational model relies on cross-sector alignment, connecting local municipalities, academic institutions, independent retailers, and regional design communities to strengthen local creative economies.

For fashion educators and academic institutions, the expansion signifies a shift toward localized talent incubation and increased institutional relevance outside London's traditional ecosystem. By embedding industry networking, public programming, and professional mentorship directly within regional urban centers, the initiative addresses long-standing geographic barriers to entry for fashion students. Higher education facilities in the participating regions stand to benefit from direct access to industry networks, potential curriculum integration opportunities, and clearer pathways for graduates seeking to establish sustainable creative enterprises within their local economies.

UK textile charity TEX+ will make its official debut at trade show Première Vision Paris from September 1 to 3. Located at Stand 1B8 in the Designs Hall, the showcase marks a strategic milestone for the non-profit organization as it establishes a dedicated platform to connect emerging British design talent with the global textile and fashion industry. By presenting work from its latest award finalists alongside established program alumni, the charity aims to facilitate commercial pathways and international trade exposure for recent university graduates.

The showcase expands on the 50-year operational history of Texprint and TexSelect, the predecessor organizations reconstituted under the TEX+ banner. A central feature of the exhibit will be an interactive trend installation titled TEX+ Live Collaborative Trends Creation, where six selected designers specializing in weave, print, knit, stitch, and mixed media will construct a real-time concept wall based on Première Vision’s seasonal color forecasts. The participating cohort includes 2026 finalists Christie Shannon, Lili Mizuno, and Twig Searle, operating alongside alumni Freya Booth, Nikki Kewley, and Ruth Kent. To further drive visitor engagement, the stand will run a digital draw across the event's first two days, awarding limited-edition tote bags featuring artwork designed by the participating cohort.

The move to secure space at an international trade fair highlights a critical shift in how academic institutions and non-profit talent incubators bridge the transition between creative education and commercial employment. Early-career textile designers increasingly face structural entry barriers, high production overheads, and fragmented hiring pipelines upon leaving higher education institutions. By embedding emerging graduates directly into trade environments like Première Vision, TEX+ shifts traditional graduate showcase models away from static academic exhibitions toward active business networking, giving educators and institutional leaders a functional benchmark for professional placement and curriculum alignment.

De Montfort University (DMU) has become the first higher education institution to publicly partner with fashion technology platform CircKit, embedding its industry-grade circular design and compliance software directly into its curricula starting September 2026. The initiative, delivered through the "CircKit for Universities" academic licensing programme, aims to address a growing skills gap by shifting sustainability instruction away from theoretical lectures toward active, tool-based practice.

As legislative measures such as Extended Producer Responsibility (EPR) and Digital Product Passports (DPPs) redefine operational standards across global supply chains, fashion brands are prioritizing candidates with practical fluency in eco-design and regulatory compliance. By integrating CircKit across multiple courses, DMU will allow students to conduct Life Cycle Assessments (LCAs), analyze material impacts, and simulate real-world commercial scenarios during the initial design phase, long before products reach production.

The platform’s methodology centres on balancing commercial viability, regulatory compliance, and climate performance. According to Stuart Lawson, Deputy Head at DMU’s School of Design Innovation, the adoption aligns with the Design Council’s Skills for Planet framework, embedding LCAs directly into teaching to help students understand and act on sustainability metrics. CircKit Founder and CEO Joe Darwen noted that DMU’s early adoption establishes a new benchmark for higher education by treating circularity as a core business driver rather than a creative limitation.

The partnership highlights a broader movement among fashion institutions seeking to update their academic models in response to tightening global regulations and evolving market demands. With applications now open for the September 2026 academic term, CircKit is currently onboarding additional fashion schools and universities, signaling a sector-wide transition toward software-driven, compliance-ready fashion education.

The 2026 Macao Student Fashion Creativity Competitions are bringing together 54 young participants from 22 schools to compete across fashion design, visual merchandising technology, beauty and makeup technology, and fashion illustration.

Held under the theme “Green City”, the competition is designed to develop creative and cross-disciplinary skills while giving participants experience in applying ideas within a professional-style setting.

Fashion design contestant Vong Mei Nei said her interest in the discipline began with anime before developing through formal training. After participating in the competition for the first time last year, she returned with a stronger understanding of the process, including pattern drafting, garment construction and colour theory.

The practical focus extends beyond making garments. Participants are also asked to translate design concepts into customised proposals for clients, combining creative development with problem-solving and technical decision-making.

That emphasis reflects the increasingly broad skill set required across the fashion industry, where design development intersects with communication, production, commercial considerations and client needs.

The competition also provides a pathway towards international exposure. Victoria Alexa Kuan Chan, president of the Macau Productivity and Technology Transfer Centre (CPTTM), said Macao contestants have collectively achieved international results including one gold, two silver and two bronze medals, as well as 15 medallions for excellence.

The CPTTM has positioned local training and competitions as an important foundation for young people progressing to international events. Vong also pointed to opportunities beyond Macau, noting demand for bespoke tailoring and fashion design locally while recognising the global nature of the wider industry.

The 2026 competition runs through August 14, with awards presented across all four categories. Alongside recognising individual achievement, the event offers a snapshot of how vocational training and creative competitions are being used to develop technical confidence, industry awareness and emerging fashion talent.

For generations, Indian students considering higher education were often encouraged towards fields such as engineering, medicine, law and commerce, while creative subjects were sometimes viewed as less conventional career choices. According to an article published on The Pioneer, that landscape is changing as technology, artificial intelligence and the wider creative economy reshape opportunities for graduates.

For fashion students the shift is particularly significant. A fashion career today extends well beyond traditional roles in design. Opportunities increasingly span fashion communication, styling, photography, merchandising, buying, retail, fashion technology, UX, branding, marketing, sustainability, luxury business and creative entrepreneurship.

Fashion education is consequently becoming more interdisciplinary. Students may combine creative practice with business, digital technologies, communication and research, developing skills that can be applied across a rapidly changing industry.

The growing influence of artificial intelligence is another factor reshaping fashion education. Rather than removing the need for creative skills, AI is changing how designers and other fashion professionals research, develop, communicate and produce ideas. This makes critical thinking and the ability to assess technology-generated outputs increasingly relevant alongside traditional design and technical skills.

Exposure to emerging technologies

For educators, this presents an opportunity to reconsider how fashion programmes prepare students for professional life. Studio practice, portfolio development, industry projects, internships and exposure to emerging technologies can complement technical and theoretical learning.

Students choosing a fashion programme, the degree itself is only one part of the decision. The learning environment, opportunities to collaborate, access to industry, development of a professional portfolio and exposure to new technologies can all influence how effectively a programme prepares graduates for an evolving sector.

The wider expansion of India's creative economy also suggests that the boundaries between fashion, technology and business will continue to become less distinct. For the next generation of fashion professionals, creative education may therefore provide not just preparation for a specific role, but a foundation for adapting as those roles change.

Gant and Yale University have announced a multi-season partnership reconnecting the American fashion brand with the university where its story began.

The collaboration draws on Gant’s history with Yale and the wider influence of Ivy League style on American fashion. The brand says the partnership will reinterpret archival references and traditional collegiate clothing codes for contemporary collections.

The Fall 2026 collection combines heritage fabrics, tailoring and varsity-inspired silhouettes. Menswear includes Oxford shirts, tweed blazers, chinos, corduroy suits and a leather varsity jacket, while womenswear features updated collegiate staples including a pinstripe blazer, pleated leather skirt, varsity outerwear and cardigans.

For fashion students, the partnership provides an example of how brands can use archives, institutional history and cultural associations as starting points for contemporary design. It also highlights the continuing role of Ivy League style as a reference within American sportswear.

The campaign was photographed on Yale’s New Haven campus, reinforcing the connection between the university, the brand’s heritage and the collections.

The Swedish School of Textiles presented its Spring/Summer 2027 graduate runway show during Copenhagen Fashion Week, bringing together 22 graduating designers at Langelinie Pavilion.

The collections explored fashion through material experimentation, humour, construction and visual communication. Designs included unconventional elements such as mop-inspired footwear, illuminated dresses, nail-covered trousers and a handbag made from a beanbag.

Textile research remained a strong feature of the show, with graduates working across weaving, embroidery, knitting, felting, wool and machine embroidery. Ebba Carlson Persson, for example, explored the relationship between clothing and light through disco-ball and neon elements, while Ilya Nyuganen experimented with woven, felted and knitted wool.

Other designers focused on construction and form. Tuula Wallace drew on techniques associated with Danish furniture design, while Sally Bjerre Gaarde used coarse weaves and machine embroidery to develop texture and structure. Iris Phillips, who opened the show, explored bodily posture through undulating silhouettes and sculptural leather elements.

Across the collections, the graduate show demonstrated how textile-focused fashion education can provide a foundation for experimentation with materials, techniques and forms. Despite the playful character of several designs, the collections also reflected extensive hand-sewing, handweaving and hand-embroidery, highlighting the technical development underpinning the students' work.

South Florida Fashion Academy has appointed fashion designer Mitchell Perry, known for his appearance on season 13 of Project Runway, as the new director of its Fashion Design & Merchandising Department for the 2026–2027 academic year.

Based in Boca Raton, Florida, the private academy said Perry will oversee the fashion design programme, bringing industry experience to students pursuing careers in fashion. His appointment reflects a broader trend among fashion education providers of recruiting practitioners with professional and media profiles to lead teaching and curriculum development.

Perry, who gained national recognition through Bravo TV's Project Runway, is expected to guide students in fashion design and merchandising while contributing to programme development for the upcoming school year.

The appointment highlights the continued emphasis on industry-connected education, with institutions increasingly seeking faculty members who combine creative practice with professional experience to prepare students for careers in the fashion sector.

Fashion educator Eric W. Stiles Sr. is relaunching his online teaching through EWS Fashion Academy, introducing a new nationwide program aimed at students seeking flexible training in garment construction, tailoring, pattern making, and fashion design.

The program follows Stiles' previous online courses, which were delivered through 61 U.S. colleges and two Canadian institutions, including Southwestern Illinois College. Beginning 12 September 2026, the new courses will be offered directly through EWS Fashion Academy, with each seven-day mini course available on demand to accommodate students balancing work, study, and other commitments.

According to the academy, the curriculum covers subjects including professional sewing, tailoring, draping, garment fitting, alterations, pattern manipulation, commercial pattern techniques, and fashion design principles. Additional specialist modules are expected to be introduced over time.

By moving away from the college continuing education model, the academy says course fees have been significantly reduced, with most mini courses priced at 17 dollars.

Stiles has worked in the fashion industry for more than 40 years and previously trained in bespoke tailoring with Brioni in Italy. His career has included work with brands such as Giorgio Armani, Polo Ralph Lauren, and Tom Ford, alongside teaching fashion construction and tailoring since 1989.

The launch reflects the continued growth of online and alternative learning pathways in fashion education, offering students and industry professionals additional opportunities to develop technical skills outside traditional higher education programs.

Fashion schools and industry organisations are introducing a range of new educational programmes and student initiatives for 2026, reflecting growing demand for specialised training across design, business, digital technologies and industry collaboration.

ESMOD and Vogue College of Fashion

In France, ESMOD Rennes will launch a new third-year Fashion Design programme in autumn 2026. Directed by Arthur Robert, founder of OUEST Paris, the course aims to combine advanced technical design skills with strategic and professional development.

The Vogue College of Fashion is expanding its online postgraduate portfolio with a new MA in International Luxury Business, beginning on 14 September 2026. The institution will also introduce a Vogue Diploma in Fashion Photography, starting on 8 October, offering specialist training in image-making and visual communication.

In Italy, Domus Academy has introduced the Milano Fashion Labs, a series of intensive workshops focused on concept development, visual storytelling and creative experimentation. Launched in July 2026, the programme is designed for students and early-career creatives seeking short-form immersive learning experiences.

Fashion programmes in the USA

Several institutions in the United States are also expanding their fashion education offerings. The University of Cincinnati, through its Lindner College of Business and College of Design, Architecture, Art, and Planning (DAAP), will introduce a new interdisciplinary Bachelor of Science in Fashion Business in autumn 2026. The programme combines business strategy with creative design and includes mandatory cooperative education (co-op) placements to provide industry experience.

Thomas Jefferson University announced the creation of a dedicated College of Fashion & Textiles in May 2026, bringing together its fashion programmes and modern design and production facilities under a single academic structure.

At secondary-school level, Polaris Career Center and Berea-Midpark High School will launch a joint two-year Fashion Design & Merchandising vocational programme for high school juniors from autumn 2026, providing students with an early pathway into fashion education and manufacturing skills.

Curriculum updates are also reflecting wider technological changes across the industry. The Fashion Institute of Technology (FIT) is integrating advanced 3D workflows into its core curriculum, while faculty development programmes are supporting teaching in digital twins, artificial intelligence (AI), augmented reality (AR), virtual reality (VR) and virtual try-on technologies alongside traditional craftsmanship.

Fashion camps and intensive programmes

Meanwhile, ASU FIDM is expanding its educational outreach through new Fashion Camps and intensive programmes in Los Angeles and Phoenix, designed to strengthen links between digital business, creative practice and contemporary industry workflows.

Industry partnerships continue to play an important role in supporting students. The British Fashion Council and COS have announced a new collaboration that will provide scholarships, funding and mentoring opportunities for university fashion students during 2026, helping emerging designers transition from education into professional practice.

Together, these developments illustrate how fashion education providers are broadening their offerings through new degree programmes, specialised short courses, curriculum modernisation, earlier career pathways and industry-backed support. Across higher education and vocational training, institutions are responding to changing industry needs by combining creative practice with digital skills, business knowledge and workplace experience.

Graduates entering the UK labour market this summer face one of the toughest hiring environments in recent years, with vacancies aimed at new or recent graduates falling to their lowest level since 2020, according to new data from job platform Indeed.

Graduate job openings are down around 7 percent compared with last year, while advertisements for temporary summer jobs in sectors such as tourism, events and children's camps have also dropped to a four-year low. Graduate vacancies remain close to their lowest recorded share of total job postings.

Indeed attributes the slowdown to employers reducing junior recruitment amid ongoing cost pressures and economic uncertainty. Retail and hospitality, sectors that traditionally employ large numbers of young people, have experienced some of the sharpest declines in payroll employment.

The findings come as youth unemployment in the UK remains elevated. Official figures show that around one million young people are not in education, employment or training (NEET), while unemployment among 18- to 24-year-olds stands at 14.8 percent.

The report also highlights the longer-term implications of fewer entry-level opportunities. Summer jobs and graduate roles often provide essential workplace experience, helping young people develop transferable skills and establish an employment record. A prolonged decline in hiring could delay career progression and reduce lifetime earnings for those entering the workforce during a weak labour market.

The UK government has pledged to improve youth employment through reforms to vocational education, expanded apprenticeship support and subsidised employment opportunities for young benefit claimants. However, Indeed's analysis shows overall UK job postings have fallen 11 percent since the start of 2026 and remain around 32 percent below pre-pandemic levels, suggesting employer caution continues across much of the economy.

A fashion merchandising professor at Central Michigan University has received an international award for research exploring the integration of artificial intelligence into fashion education.

Dr. Seung-Eun (Joy) Lee, Professor in the Fashion Merchandising and Design programme, received the Best Oral Presentation award from the Korean Society of Clothing and Textiles for her presentation, Building AI Literacy in a Fashion Marketing Course: Pedagogical Implications, at the 2026 International Conference on Clothing and Textile.

The presentation examined how AI was incorporated into Lee's Fashion Advertising and Promotion course. Students used AI tools to analyse consumer culture, evaluate brand perception, assess advertising and marketing content, and develop marketing strategies. A central focus of the course was encouraging students to critically assess the accuracy, relevance and limitations of AI-generated outputs alongside learning how to use the technology effectively.

The course was developed as part of the Department of Fashion, Interior Design, and Merchandising's strategic AI learning initiative, led by department chair Tanya Domina. The initiative established a semester-long faculty cohort in which educators explored ways to integrate AI into their teaching and shared implementation strategies, challenges and student learning outcomes.

Lee, who also serves as Director of the university's Fashion Merchandising and Design Online Program, said the award reflects not only her own course innovation but also the department's wider commitment to faculty development, pedagogical innovation and preparing students for a rapidly evolving fashion industry.

The recognition highlights the increasing role of AI literacy in fashion education as institutions adapt curricula to equip students with both practical AI skills and the ability to critically evaluate emerging technologies.

An apparel merchandising student at Auburn University has been recognised by Vogue as one of the most stylish young people in the United States, highlighting the growing intersection of fashion education, journalism and creative storytelling.

Chelsi Banks, who is studying Apparel Merchandising while minoring in Journalism, was selected as one of 50 finalists in Vogue's American Style x Vogue competition. The initiative recognised young people from across all 50 states who represent contemporary American style, with Banks among just two finalists invited to participate in an in-person interview with the publication.

Banks, who hopes to pursue a career in fashion journalism, said she views fashion as a subject worthy of academic study as well as a form of creative expression. Her interest in combining writing with fashion influenced her decision to study at Auburn University, where she has become actively involved in the Department of Consumer and Design Sciences.

Alongside her studies, Banks is a senior editor for Swatch, Auburn's student-run fashion publication, where she edits articles, contributes content and helps produce the annual print magazine. She will serve as managing editor during the 2026–27 academic year and is also taking on a leadership role as a modelling co-chair for the university's annual Fashion Event.

For fashion educators, Banks' experience illustrates how extracurricular publications, student-led events and interdisciplinary study can provide valuable professional experience alongside academic programmes. Her recognition by Vogue also reflects the opportunities available to students who combine fashion knowledge with skills in journalism, editing and digital media.

Madrid – In the journey towards a more sustainable and circular model, the fashion and textile industries have found an unexpected partner: brewery waste. These materials, previously discarded, are now the subject of research by the Massachusetts Institute of Technology (MIT) and the University of La Coruña. The study, funded by Inditex, will assess their potential for transformation into textiles and natural dyes.

Applications are now open for the iD International Emerging Designer Awards 2027, offering fashion graduates and emerging designers from around the world the opportunity to present their work during iD Dunedin Fashion Week in New Zealand. Organised in partnership with Otago Polytechnic, the awards have supported emerging talent since 2005 and are recognised as one of Australasia's longest-running international competitions for graduate fashion designers.

The competition is open to recent graduates in fashion and textile design who completed their qualifications within the past seven years. Entrants are invited to submit collections of three to five looks, accompanied by design and sustainability statements. A dedicated Natural Luxury with Wool category is also available for eligible collections.

To support international participation, organisers have introduced a two-round application process. While the first submission round has closed, the second and final deadline is 30 November 2026. Finalists will be invited to Dunedin in March 2027 to present their collections before an international judging panel and the public during iD Dunedin Fashion Week.

Alongside cash prizes, the awards offer emerging designers opportunities to gain industry exposure, receive feedback from established fashion professionals and build international networks. Recent editions have also placed increased emphasis on sustainability, diversity and size inclusivity within the competition and its associated events.

Istituto Marangoni Mumbai presented its annual student fashion showcase, titled Astitva, on July 18, highlighting the work of second-year Fashion Design students. The event featured nine collections exploring themes including identity, memory, resilience, heritage, and transformation through contemporary fashion.

According to the institution, the name Astitva, derived from the Sanskrit word for "identity" or "existence," served as the central theme for the showcase. Each collection reflected a different personal narrative developed by the participating students.

The showcase brought together members of the fashion industry, educators, and invited guests to view the students' work. The collections incorporated a range of design approaches, materials, and storytelling techniques, demonstrating the creative and technical skills developed during the students' coursework.

Istituto Marangoni Mumbai said the annual event is intended to provide students with an opportunity to present their work in a professional runway setting while gaining exposure to industry professionals. The showcase forms part of the institution's broader academic program in fashion education.

The 2026 edition follows previous annual showcases hosted by the institution, each centered around a distinct theme. According to the school, Astitva focused on individual identity and personal expression through fashion design.

The Savannah College of Art and Design (SCAD) has announced a new residential graduate program at its campus in Lacoste, France, beginning with the 2026–2027 academic year. The program is available to eligible graduate students enrolled in SCADnow, the university's online learning platform.

The initiative allows participating students to complete a 12-month academic year while living and studying at SCAD's campus in the medieval village of Lacoste, located in France's Provence region. Students will continue their graduate studies through SCADnow while also having access to select in-person coursework offered at the Lacoste campus.

According to the university, eligible graduate students may enroll in on-ground courses during designated quarters in programs including luxury and brand management, graphic design, illustration, interior design, painting, photography, writing, and animation. Degree availability varies by discipline and includes Master of Arts (M.A.) and Master of Fine Arts (M.F.A.) programs.

SCAD said the residential option is designed to combine the flexibility of online graduate education with in-person learning and international study. The university also plans to offer participants cultural activities, professional engagement opportunities, and organized excursions throughout the Provence region as part of the academic experience.

SCAD's Lacoste campus occupies a collection of restored historic buildings in the village and has served as the university's international study location for undergraduate and graduate programs for several years.

The new offering expands SCADnow, which provides online graduate education across multiple disciplines. Under the new model, eligible students can begin their degrees online and transition to a residential experience in France while continuing their academic programs.

Applications for the residential graduate program are now open for eligible SCADnow graduate students seeking to participate during the 2026–2027 academic year.

Sixteen graduating fashion designers from Macromedia University of Applied Sciences presented collections exploring themes including gender identity, social media, cultural heritage, and women's sport during the university's annual Fashion Design graduation show.

Held in Hamburg, the event featured approximately 120 runway looks and attracted more than 550 guests. The collections reflected a range of contemporary social and cultural issues, demonstrating how emerging designers are using fashion as a medium for personal expression and social commentary.

Among the featured collections was "The Shape Between" by Laura-Marie May, which examined the relationship between fashion and gender identity. Drawing inspiration from philosopher Judith Butler, the collection questioned binary understandings of gender through bold colors and pop-art influences while emphasizing self-expression, queer visibility, and body acceptance. One of the runway looks was presented by a drag performer.

Alexander Ilenser's collection, "Internet Kid," focused on the influence of social media platforms and digital algorithms on fashion and identity. Incorporating neon colors, glitch-inspired graphics, and digital aesthetics, the collection explored how online environments increasingly shape visual culture and self-perception.

The concept of representation in fashion photography was central to "State of Gaze," a collection by Laurin Werwinski. The work examined the idea of the female gaze and considered how perspectives on femininity, the body, and visual representation have evolved, particularly in the years following the #MeToo movement.

Designer Anh Truong explored questions of cultural identity in "Legacy," blending traditional Vietnamese dress with contemporary hip-hop streetwear. The collection reinterpreted elements of the áo dài through modern silhouettes and was developed in collaboration with the dance crew Out of Zone, combining fashion with movement and performance.

Women's football served as the inspiration for Sarah Homann's "FC Samba League." Influenced by Brazilian colors and football culture, the collection merged sportswear elements with feminine tailoring while highlighting the growing cultural visibility of women's football.

According to Macromedia University, the graduation collections were developed over several months, with students independently completing every stage of the design process, from research and concept development to material selection, pattern making, garment construction, and final presentation.

The graduation show marked the conclusion of the Fashion Design program for the participating students and showcased a broad range of creative approaches to contemporary fashion design.

Macromedia University of Applied Sciences is a private university in Germany with campuses in Berlin, Frankfurt, Hamburg, Cologne, Leipzig, Munich, Stuttgart, Düsseldorf, Freiburg, and Hanover. The institution enrolls approximately 5,500 students and offers bachelor's and master's degree programs in fields including design, media, communication, technology, psychology, journalism, film, fashion, music, and business.

Young fashion designers aged 8 to 18 showcased original garments they designed and made themselves at the Kent Junior School of Fashion & Arts' annual Summer Showcase.

The event featured a collection of student-created designs developed over the past year, highlighting the participants' creativity and technical skills.

Based in Aylesham, the not-for-profit organisation provides fashion and arts education for children and young people, with a focus on building confidence, creativity and practical skills. The school also supports neurodiverse learners and aims to make creative opportunities accessible to young people from all backgrounds.

Organisers say the showcase celebrates months of learning and gives aspiring designers the opportunity to present their work to the local community while promoting creative education and future career pathways.

Organizations in Nigeria are being invited to apply for funding under the Creative, Digital, and Innovation Economy Initiative, a program designed to support projects that strengthen the country's creative and technology sectors through innovation, entrepreneurship, and workforce development.

According to the funding announcement, the initiative seeks proposals from eligible nonprofit organizations and other qualified entities that can implement programs focused on expanding opportunities within Nigeria's creative and digital economy. Priority areas include entrepreneurship, digital skills development, innovation, cultural and creative industries, and initiatives that promote economic growth through technology and creative enterprise.

The program encourages projects that build partnerships among educational institutions, private-sector organizations, government agencies, and community groups. Organizers say successful proposals should demonstrate measurable outcomes, including increased access to training, stronger entrepreneurial ecosystems, and improved opportunities for young professionals and emerging businesses.

Applicants are expected to outline clear implementation plans, budgets, and evaluation methods as part of the selection process. Funding decisions will consider a project's potential impact, organizational capacity, sustainability, and alignment with the initiative's objectives.

The announcement reflects broader efforts to strengthen Nigeria's creative and digital sectors, which have become increasingly important contributors to employment, entrepreneurship, and economic diversification. Government agencies and development organizations have launched multiple initiatives in recent years aimed at improving access to financing, digital infrastructure, and business support for creative and technology-driven enterprises.

Application requirements, eligibility criteria, funding levels, and submission deadlines are outlined in the official call for proposals. Interested organizations are encouraged to review the program guidelines before preparing and submitting applications.

VF Corporation and the VF Foundation announced an expansion of their partnership with the Fashion Scholarship Fund (FSF), broadening a scholarship program designed to support community college students pursuing careers in the fashion and apparel industry. The initiative aims to increase educational access while providing participants with greater exposure to professional opportunities across the sector.

According to VF, the partnership began in 2022 as a pilot mentorship program supporting three students and has since expanded into the FSF Community College Scholarship Program. The company said the initiative has awarded 113 scholarships to 101 students attending 17 community colleges across 10 U.S. states. The VF Foundation reported investing nearly $1 million to establish and expand the program.

In 2026, the program introduced additional career development opportunities by connecting scholarship recipients with VF corporate employees, brand representatives, and retail associates on both the East and West coasts. Activities include visits to corporate campuses and retail locations, networking sessions, and discussions with professionals working in product development, merchandising, retail operations, design, and brand management.

Program expansion

VF said the expanded programming is intended to help students gain a better understanding of career pathways within the apparel and footwear industry while building professional networks. Company representatives stated that the initiative focuses on students from community colleges, who may have fewer opportunities to establish industry connections through traditional educational routes.

The company highlighted several examples of program engagement, including visits by scholarship recipients to Timberland, Vans, and The North Face retail locations in New York City, as well as events hosted at the Vans corporate campus in California. These experiences are designed to provide participants with direct exposure to workplace environments and industry professionals.

VF also reported that program evaluations indicate progress toward encouraging scholarship recipients to pursue careers in fashion and to transfer from community colleges to four-year institutions. According to the company, several alumni have launched businesses or begun careers as freelance designers following their participation in the program. These outcomes were reported by VF and have not been independently verified.

The Fashion Scholarship Fund is a nonprofit organization that provides scholarships, mentorship, and career development opportunities for students pursuing education in fashion-related fields. VF Corporation, whose portfolio includes brands such as Vans, Timberland, and The North Face, has identified education and workforce development as part of its broader corporate social responsibility initiatives.

The expanded scholarship program reflects a broader trend among fashion companies and nonprofit organizations to invest in workforce development by supporting students from diverse educational backgrounds and increasing access to careers in the apparel industry.

A new interview with psychologist and fashion researcher Dr. Carolyn Mair explores the growing role of behavioural science in fashion, arguing that understanding why people make clothing choices is becoming as important as understanding how garments are designed or manufactured.

Published by Meer, the interview examines how fashion intersects with identity, emotion, decision-making and sustainability. Mair, a cognitive psychologist and former Professor of Psychology for Fashion at the London College of Fashion, discusses how psychological research can help both individuals and the fashion industry make more informed decisions.

A central theme is the relationship between clothing and identity. Mair explains that garments function not only as signals to others but also influence how people think, feel and behave themselves. Rather than simply following trends, she suggests that consumers often experience greater confidence and authenticity when their clothing choices align with their personal values and sense of self.

The interview also addresses the psychological challenges surrounding sustainable fashion. Mair describes the tension many consumers experience between wanting to shop responsibly while also seeking novelty and self-expression. She argues that sustainable behaviour can be encouraged by reframing consumption around quality, versatility and long-term value rather than restriction, while also recognising that businesses have a role in making sustainable choices easier and more accessible.

Discussing overconsumption, Mair points to psychological drivers such as reward-seeking, social comparison and identity formation, suggesting that these behaviours have been reinforced by fast fashion business models centred on constant novelty and urgency. She argues that addressing these patterns requires both greater consumer awareness and systemic changes within the industry.

For fashion educators, the interview highlights the increasing relevance of psychology within fashion curricula. Behavioural science is being applied to areas including consumer behaviour, product development, sustainability, marketing, retail experiences and well-being, reflecting a broader shift towards interdisciplinary education. Mair previously established the world's first master's programmes applying psychology to the fashion industry at the London College of Fashion, helping to formalise fashion psychology as an academic field.

The interview also raises questions about the future direction of the fashion industry. Mair argues that success should increasingly be measured by how well products serve people and the environment over time rather than by sales volume alone. She advocates for greater emphasis on transparency, repair, resale, rental and circular business models, alongside strategies that encourage more conscious consumer decision-making.

For students, the discussion illustrates how careers in fashion increasingly extend beyond traditional design roles. Expertise in psychology, behavioural science and consumer research is becoming more closely integrated with fashion practice, offering opportunities to contribute to areas such as sustainability, user experience, product innovation and ethical business strategy.

Students and alumni from Berkeley College participated in a side event during the 2026 United Nations High-Level Political Forum (HLPF), where they joined educators, nonprofit leaders, and sustainability advocates in discussions about the role of fashion in advancing environmental and social goals.

The event, titled Fashioning Transformative, Equitable and Innovative Actions for a Sustainable Future for All, was held on July 14 at the United Nations Church Center in New York City. The forum focused on how collaboration among governments, educational institutions, businesses, civil society organizations, and young people can contribute to more sustainable practices in the fashion industry.

During a Berkeley College-led youth panel, current students and alumni discussed the United Nations Sustainable Development Goals (SDGs) and their application to fashion. Topics included reducing textile waste, minimizing water use during production, and expanding the use of recycled and surplus materials in clothing design. The discussion also examined how educational institutions can prepare future professionals to address environmental challenges within the global fashion supply chain.

Faculty members moderated the session, while participants highlighted the importance of cooperation across industry, government, and educational sectors in pursuing sustainability objectives. Speakers noted that achieving long-term progress will require coordinated efforts among multiple stakeholders rather than isolated initiatives.

The event also featured the Global Peace Flag, a collaborative project developed through the nonprofit organization Fashioning for Social and Environmental Justice. According to organizers, the flag was created using reclaimed and sustainable materials and is intended to promote environmental awareness through art and fashion.

Berkeley College has incorporated sustainability into several of its fashion-related academic initiatives in recent years. Previous student projects have included garments made from deadstock fabrics, collaborations with textile recycling organizations, and educational programs focused on circular fashion and reducing design waste.

The United Nations High-Level Political Forum serves as the organization's primary annual platform for reviewing progress toward the Sustainable Development Goals, a set of 17 global objectives adopted by UN member states to address issues including climate action, responsible consumption, and sustainable economic development. Educational institutions, nonprofit organizations, businesses, and government representatives regularly participate in HLPF side events to share research, programs, and policy ideas related to these goals.

Lovely Professional University (LPU) has outlined its vision for fashion education in a new article highlighting how its School of Design – Fashion Design & Technology is adapting its curriculum to reflect changes in the global fashion industry.

The university says its programmes are designed to combine creative practice with technical knowledge, entrepreneurship and sustainability, reflecting the growing demand for graduates who can work across multiple areas of the fashion sector. According to LPU, the curriculum is regularly updated to align with international industry developments and includes opportunities for students to engage with fashion design, technology and responsible production practices.

A key focus of the programme is industry engagement. LPU reports that students participate in fashion shows, design competitions, workshops and seminars led by industry professionals, while partnerships with fashion companies are intended to provide internship opportunities and practical experience. The university also emphasises international exposure through exchange programmes, collaborative projects and global competitions that introduce students to international markets and design perspectives.

The article highlights sustainability as an integral part of fashion education rather than a standalone subject. Students are introduced to topics such as ethical production methods, environmentally conscious materials and responsible design approaches, reflecting broader industry efforts to integrate sustainability into product development and supply chains.

LPU also points to the increasing role of digital technologies in fashion education. Through workshops and guest lectures, students are exposed to areas including digital textile design, virtual fashion, metaverse applications, artificial intelligence and luxury fashion management, illustrating the expanding range of technical competencies expected of future fashion professionals.

Recent activities at the School of Design have included student participation in Lakmé Fashion Week, garment manufacturing trade exhibitions and collaborations with industry partners, alongside workshops delivered by professionals from fashion, retail and creative industries. The university says these experiences are intended to complement classroom learning with exposure to current industry practices.

For fashion educators, LPU's approach reflects wider developments across fashion education, where programmes are increasingly combining traditional design skills with sustainability, digital technologies, entrepreneurship and industry collaboration. As fashion careers continue to evolve, institutions are placing greater emphasis on preparing graduates with a broad skill set that extends beyond garment design alone.

A new analysis from The Business of Fashion explores whether fashion school remains a worthwhile investment as rising tuition costs, changing career pathways and advances in artificial intelligence reshape expectations of higher education.

The article examines how prospective students are increasingly questioning the return on investment of fashion degrees, particularly as the industry experiences slower hiring, fewer entry-level opportunities and the emergence of alternative routes into fashion careers.

Rather than suggesting a simple answer, the analysis argues that the value of fashion education now depends more heavily on what institutions offer beyond technical instruction. Industry connections, work placements, interdisciplinary learning, mentorship, entrepreneurship and access to professional networks are identified as factors that can significantly influence graduate outcomes.

The discussion comes at a time when artificial intelligence is beginning to automate some routine entry-level tasks across design, marketing and merchandising. As a result, employers are placing greater emphasis on capabilities that are less easily replicated by technology, including critical thinking, communication, collaboration and creative problem-solving.

For fashion educators, the article reinforces an ongoing shift already visible across many institutions. Curricula are increasingly integrating digital product development, AI literacy, sustainability, business strategy and entrepreneurship alongside traditional design and garment construction, reflecting the broader transformation of the industry.

The analysis also highlights the growing diversity of educational pathways into fashion. Alongside degree programmes, apprenticeships, short courses, industry-led training, online learning and employer partnerships are becoming more prominent, allowing learners to develop specialised skills outside conventional university models.

For students considering fashion education, the article suggests that the decision is increasingly less about attending fashion school in itself and more about selecting programmes that provide industry relevance, practical experience, professional networks and adaptable skills that can support long-term careers in an evolving fashion landscape.

Fashion-Enter Limited (FEL) is expanding its apprenticeship provision in response to increasing demand for skilled sewing machinists, while reporting strong outcomes from its higher-level technical training programmes.

The independent learning provider, which operates campuses in Haringey, Islington and Leicester, has announced a renewed focus on its Level 2 Sewing Machinist apprenticeship, delivered through its Fashion Technology Academy and ethical manufacturing facility. The programme is designed to provide practical training for apprentices entering garment production, sample making and manufacturing roles.

According to FEL in a press release, the expansion comes as employers across the UK fashion and textile sector seek to address shortages of skilled technical workers. The organisation operates a rolling apprenticeship intake and is encouraging participation from businesses of all sizes, including small and micro enterprises.

Alongside its Level 2 provision, FEL is celebrating the achievements of six apprentices from retailer Next, all of whom achieved distinctions after completing the Level 4 Product Technologist apprenticeship. The qualification prepares apprentices for technical roles involving product development, garment quality and manufacturing processes.

Chief Executive Jenny Holloway said the organisation has seen increased demand for sewing machinists in both sampling and production over the past six months. She noted that the ethical factory provides apprentices with a working manufacturing environment in which to develop industry-relevant skills and highlighted the distinction results achieved by the Next apprentices.

FEL has delivered apprenticeships for more than 16 years and works with a range of employers across the fashion sector, from large retailers to small businesses. The organisation also recently received the King's Award for Enterprise in Sustainable Development, with sustainability principles integrated into its education and training programmes.

Head of Education Lan Leeder said the provider works closely with both employers and apprentices to ensure training aligns with industry requirements and supports successful employment outcomes.

For fashion educators, the announcement reflects the continued importance of technical education within the fashion industry. As manufacturers and brands seek to strengthen domestic production capabilities and address skills shortages, apprenticeships in garment construction, product technology and manufacturing remain an important pathway into technical careers within the sector.

X-Rite Pantone and the Fashion Institute of Technology (FIT) have announced an expanded partnership aimed at advancing digital colour education for fashion students, reflecting the growing importance of colour management skills across product development and global supply chains.

According to PR Newswire, the collaboration will provide FIT students with access to professional colour management technologies and workflows used throughout the fashion industry. By integrating digital colour tools into teaching, the initiative is intended to help students develop skills in colour communication, specification and consistency—areas that have become increasingly important as brands adopt more digital product development processes.

Digital colour management enables designers, product developers and manufacturers to communicate colour specifications more accurately across global supply chains, reducing the need for repeated physical samples while supporting more efficient product development. As the industry continues to adopt digital workflows, familiarity with these systems is becoming a valuable technical competency for graduates entering fashion, textiles and product development roles.

The partnership also reflects a broader trend within fashion education towards incorporating industry-standard digital technologies into curricula. Alongside developments in 3D design, artificial intelligence and digital prototyping, colour management has become an increasingly important component of preparing students for contemporary product creation and manufacturing environments.

For fashion educators, the collaboration highlights the growing emphasis on combining creative design education with technical and digital capabilities. As brands continue to digitise design and sourcing processes, programmes that expose students to professional colour management systems may help bridge the gap between academic study and industry practice.

In Pictures Ugg is launching its back-to-achool campaign on Wednesday, framing the category around creativity and self-expression rather than the traditional return-to-classroom message. The campaign features indie-pop band Muna alongside students and emerging creatives, positioning the season as the start of a new creative chapter rather than simply a return to school.

Muna anchors the campaign's messaging, with the brand citing the band's emotionally direct songwriting and distinct visual identity as aligned with the campaign's emphasis on authenticity and originality.

Alongside the Muna partnership, Ugg is debuting a nationwide college ambassador program featuring emerging artists from creative institutions including SCAD, FIDM and the School of the Art Institute of Chicago. Student ambassadors will produce original content across disciplines including fashion, illustration, filmmaking and animation throughout the season, tying the campaign to student-driven creative work rather than brand-directed content alone.

The campaign extends into retail: starting August 1, customers spending 150 dollars or more at select Ugg stores will receive a custom coloring book and crayon pack as a gift with purchase.

On product, the campaign introduces the Ultra Mini Bailey Bow, a reworked version of the brand's Bailey Bow silhouette with satin bow detailing and Ugg's signature sheepskin construction. It's joined by additional new styles, including the Lowmel Mule, Quill Mary Jane, Tasman and Deckmel, spanning footwear and apparel for men, women and kids.

This article was written with the assistance of AI.

The University of Haifa's School of Design has held its first graduate fashion show on the university's main campus, marking a milestone for its fashion programme as 25 final-year students presented collections developed over four years of study.

The show featured projects exploring themes including identity, memory, migration, family history and cultural heritage. According to the university, many collections reflected personal experiences shaped by contemporary social realities, with designers drawing inspiration from subjects such as wartime correspondence, family narratives, dementia, immigration and religious traditions.

Alongside these personal narratives, students incorporated a range of textile techniques, including embroidery, knitting, fabric development and handcrafted processes, often combined with contemporary technologies.

The University of Haifa describes its Department of Fashion Design as the only fashion design programme in Israel that awards a university degree. Based at the university's German Colony campus, the programme includes international collaborations and study opportunities designed to expose students to a variety of design traditions and creative practices.

Dr. Rachel Getz-Salomon, head of the Department of Fashion Design, said this year's collections reflected the experiences of a generation of designers working in a rapidly changing environment. She noted that many projects explored themes of loss, identity and belonging while demonstrating how fashion can serve as a medium for research, cultural commentary and critical inquiry.

The School of Design is led by Professor Leah Perez, who previously headed Shenkar's Department of Fashion Design. Perez said that being part of a research university distinguishes the programme from many traditional design schools by allowing students to engage with subjects across multiple academic disciplines, including literature, marine sciences, languages and art history.

According to Perez, the interdisciplinary structure is intended to encourage broader research-based approaches to fashion design. She also highlighted the school's emphasis on collaboration among students from diverse cultural and religious backgrounds and its partnerships with museums, the City of Haifa and other local organisations that provide opportunities to exhibit student work.

For fashion educators, the graduate show illustrates how fashion programmes are increasingly positioning design within wider academic and research contexts. The integration of interdisciplinary study, international collaboration and socially engaged design reflects broader trends in fashion education, where technical skills are being developed alongside critical research and cultural inquiry.

Two students from the London College of Fashion (LCF), University of the Arts London, have won the top award in China's first large-scale artificial intelligence fashion design competition, highlighting the growing role of AI within fashion education and creative practice.

The competition, the Global AI+Fashion Innovation Application Competition, attracted nearly 5,000 entrants from more than 10 countries. Judging was led by Chinese couture designer Guo Pei alongside industry representatives from LVMH and Google Cloud, reflecting increasing collaboration between fashion and technology sectors.

The winning team, Shen Tianjun and Kuang Yilin, developed a collection that explored harmony between nature, technology and fashion through the use of AI-assisted design tools. Their work was recognised for combining creative storytelling with emerging digital design methods.

The competition forms part of Shenzhen's broader efforts to position itself as a centre for fashion technology and AI innovation. Rather than focusing solely on garment aesthetics, the event encouraged participants to explore how artificial intelligence can support concept development, visualisation and new approaches to fashion creation.

The recognition of LCF students comes amid wider adoption of AI across fashion education and industry. Universities are increasingly introducing AI-assisted design, digital prototyping and generative design tools into their curricula, while fashion companies continue to explore AI applications in product development, merchandising and consumer engagement.

For fashion educators, the competition illustrates how AI is becoming an additional creative tool rather than a replacement for design skills. It also reflects the growing importance of preparing students to combine traditional design knowledge with emerging digital technologies as fashion education evolves alongside industry needs.

The Kunstbibliothek (Art Library) of the Staatliche Museen zu Berlin has issued a call for papers for an international symposium examining the development of fashion education in German-speaking countries during the 20th century.

Titled "Fashion as a Profession: The Establishment of Academic Fashion Courses in German-Speaking Region from c. 1910 until the 1970s," the symposium will take place on 18–19 February 2027 at the Kulturforum in Berlin. The event is being organised in collaboration with Hamburg University of Applied Sciences (HAW Hamburg) and Zurich University of the Arts (ZHdK).

Researchers are invited to submit proposals by 31 August 2026 for 20-minute presentations exploring the emergence of academic and vocational fashion education between approximately 1910 and the 1970s. Organisers plan to publish the conference proceedings following the event.

The symposium will investigate how fashion education evolved alongside broader social and cultural developments, including the Arts and Crafts movement and the expansion of educational opportunities for women. According to the organisers, these developments contributed to the establishment of formal programmes in areas such as fashion and clothing design, accessory design, fashion illustration, textile decoration, manufacturing techniques, fashion photography and fashion journalism.

A particular emphasis will be placed on the role of women, who formed the majority of both students and educators in many of these programmes, despite their contributions remaining relatively under-researched. The organisers also encourage research examining the experiences of men and queer individuals within what has historically been regarded as a predominantly female field.

Suggested topics include the institutional development of fashion education, curriculum design, the historical origins of fashion training programmes, career opportunities created through these courses, and the influence of wider political, social and economic factors on their development. Organisers also hope to encourage new research into the networks that connected vocational schools, art academies and universities across German-speaking Europe.

For fashion educators and researchers, the symposium represents an opportunity to contribute to an emerging field of scholarship focused on the history of fashion education. By bringing together historical research, institutional case studies and interdisciplinary perspectives, the event aims to expand understanding of how formal fashion education evolved and how its legacy continues to shape contemporary teaching and professional practice.

Istituto Marangoni Paris has announced a major partnership with the Dutch house Viktor&Rolf for the 2026-2027 academic year. This immersive mentorship, structured as an Industry Project, connects emerging designers with the strategic and conceptual realities of a major global luxury brand.

At a time when the fashion industry is questioning the renewal of presentation formats and the value of pure creativity, fashion schools are accelerating their alliances with leading industry figures. Istituto Marangoni Paris has made a significant move by entrusting the mentorship of its 2026-2027 Fashion Design class to Dutch designers Viktor Horsting and Rolf Snoeren, founders of the house Viktor&Rolf.

Announced in Paris this July 2026, this collaboration goes beyond a simple academic framework. It places students at the heart of a practical case study: to design the forward-looking vision for the brand's spring/summer 2028 women's ready-to-wear collection.

Complete brief: from prototype to presentation concept

The programme requires students to fully immerse themselves in the conceptual and theatrical world of the house, which is renowned for its landmark shows, from Russian Doll (1999) to Late Stage Capitalism Waltz (2023) and more recently Diamond Kite (Couture SS26).

To convince the Dutch duo, students will need to build a strong artistic direction for the SS28 collection and translate it into three key looks. The project also includes creating print and digital lookbooks. Additionally, it involves designing an innovative presentation format for Paris Fashion Week, intended to reinvent the traditional runway show.

The project will kick off in November on the Paris campus with an exclusive masterclass led by Viktor Horsting and Rolf Snoeren. Throughout the course, the work will be punctuated by two online follow-up sessions with the Viktor&Rolf creative studio, before a final presentation in Paris to the house's executives and representatives.

Professional benefits and career opportunities

Beyond the educational aspect, this project is a tangible professional launchpad for the students. The house has committed to several strategic integration opportunities:

The winning student will secure an internship in the ready-to-wear and Bridal Design studio at the Viktor&Rolf headquarters in Amsterdam.

Two to three selected students will go behind the scenes at the spring/summer 2027 ready-to-wear showroom in Paris as dressers.

All participants will receive special access to the next major Couture exhibition dedicated to Viktor&Rolf at the Musée des Arts Décoratifs in Paris.

“This collaboration reflects Istituto Marangoni Paris's commitment to forging strong links with major industry players. Beyond its academic dimension, the project creates a meaningful dialogue between teaching and creative practice. It offers students the opportunity to directly engage with Viktor&Rolf's vision while exploring the future of ready-to-wear,” said Valérie Berdah-Levy, general director of Istituto Marangoni France.

Business challenge: passing on a hybrid and profitable model

Founded in 1993, the house of Viktor&Rolf embodies a unique business model in the luxury landscape. As a pioneer of experimental and conceptual fashion, it has successfully converted its intellectual prestige into global commercial success. This is thanks in particular to its partnership with L'Oréal for the Flowerbomb perfume franchise (launched in 2005); its Bridal lines; and its international museum presence (Rothschild Kunsthal in Rotterdam, Kunsthalle in Munich in 2024, High Museum of Art in Atlanta in 2025-2026).

By entrusting its students to this unconventional duo, Istituto Marangoni Paris is making a very pragmatic choice. The aim is no longer just to train stylists, but to train and equip designers capable of combining uncompromising artistic audacity with a mastery of the industrialisation and image constraints imposed by the market.

Interview

After years as a buyer at retailer Four Amsterdam, Wolter Pot swapped the corporate world for the classroom. As a fashion design lecturer at Koning Willem I College, he guides students in their creative development, sharing his passion for fashion and craftsmanship. He speaks to FashionUnited about his transition into education, the lessons he has learned, and why he has not regretted his decision for a moment.

After years as a buyer at Four Amsterdam, you decided to move into education. why? what attracted you to teaching?

I would describe myself as a real fashion nerd. When I fall in love with something, I want to know absolutely everything about it. In addition to my work as a buyer at Four, I also conducted the seasonal training for the retail staff. I could talk for hours about a particular fit or fabric and why it was so special.

The fashion scene in the Netherlands is quite challenging. After a year, I found that my work as a buyer no longer aligned with what I truly loved about fashion. It began to weigh on me. I had started my career out of a love for craftsmanship and beautiful clothing, but I was gradually losing that connection.

I studied Fashion Design at ArtEZ, and a former classmate approached me about this job. I considered it and eventually thought, why not? The idea of being paid to share my knowledge sounded perfect.

At the same time, it was incredibly daunting. My previous job had a certain prestige, which I did enjoy. However, I made the move because the role simply no longer gave me the satisfaction it once did.

How has the past year in education been for you? how do you reflect on your first full academic year?

It has been a very special year. I expected to enjoy it, but it has been even more wonderful than I anticipated. There is something magical about guiding young people through their creative development. I feel privileged to be a part of that process.

Two weeks ago, we had our graduation show where the students I mentored presented their collections. I could not be prouder. Drawings we had worked on together for months suddenly came to life as actual garments on the runway.

Of course, standing in front of a group every day was daunting at first, but I have found it suits me well. I enjoy public speaking and do not get nervous easily. I also attend a teacher training programme one day a week for professionals wanting to teach in vocational education. This course provides valuable guidance on lesson preparation and teaches me how to interact with students from a pedagogical standpoint. I find it incredibly interesting, but also quite confronting. I have learned a lot about myself this past year and discovered personal patterns I was previously unaware of.

What does your current role entail? what does an average day look like?

I teach fashion design to second and third-year students, with the third year being the graduating class. Each academic year is divided into four terms, each focusing on a different theme, such as outerwear.

For each term, I create an assignment covering various aspects of the design process. This includes gathering inspiration; selecting fabrics; draping with existing garments; and various drawing techniques. I aim to equip students with a wide range of skills so they can choose the methods that best suit them in their final year.

In addition to teaching, I am responsible for our social media and the creative direction of the final show. I oversee which projects are showcased, the overall look of the show, the introductory video, and the programme detailing the graduate collections. I really enjoy this part of my role.

Furthermore, the role involves preparing lessons, marking assignments, and continuously contributing to the development of the curriculum.

What are the most rewarding aspects of your job?

The most rewarding part is seeing the students grow. You witness their tremendous development over the course of a year.

This year, 16 of my students are going on to higher education, at institutions including ArtEZ, Amsterdam Fashion Institute (AMFI), and Willem de Kooning Academie. I mentored them through the creation of their application portfolios. When they get accepted, I feel as proud as a father.

It is also fantastic to see a student who is struggling slowly begin to flourish after a few good conversations. Often, they come up with solutions you would not have considered yourself. That process is perhaps the most beautiful part of it all.

What aspects of your new role do you find most fulfilling?

Primarily, in sharing knowledge. At my previous job, I was sometimes teased for talking endlessly about a particular fabric or a specific construction. Here, those very quirks are appreciated. I find that truly special.

Our education manager, Kelly Geurts, also gives us a great deal of freedom in developing our lessons and in the creative direction of the final show. That trust is wonderful and allows you to truly perform at your best.

What experience from your time as a buyer at Four do you apply in your current role?

As a buyer, I learned how to build a collection effectively. By this, I mean I always look at the bigger picture. Is there enough variety in silhouettes? Are the colours and materials cohesive? Is there a good balance between commercial and more avant-garde designs?

I now apply this perspective when working with students. The key difference is that the focus is always on the story the student wants to tell with their collection.

I have also worked with almost all the major fashion brands. This provides many interesting discussions and practical examples during lessons. It makes the subject matter more tangible for students, and I find they are more receptive as a result.

I am essentially a walking encyclopaedia when it comes to fashion.

What have you learned from your students and colleagues?

That teaching is like looking in a mirror. If a class is unmanageable, it often reflects something about your own approach. That can be difficult to admit sometimes.

For this reason, I try to make my lessons very dynamic. Students today have short attention spans, so it is our responsibility as lecturers to keep them curious and engaged. I see that as a welcome challenge.

How do you see the future?

I am pleased to have completed a full academic year. It means I will be heading into the next one with much more confidence.

My second-year class will be graduating next year. They are an incredibly talented group, and I took them on an inspirational trip to Milan last April. It is a special class, and I am very much looking forward to guiding them through their final year.

Do you have any tips for other fashion professionals considering a move into education?

Do not be afraid to change course.

I always try to impress upon my students that if you are unhappy in your work or your life, you are the only one who can change it. It is a daunting and often uncomfortable process, but it is necessary.

I found making this choice incredibly scary myself. I was constantly worried about what others would think of me teaching at a vocational college in Den Bosch. Ultimately, it turned out that nobody else was concerned with it.

I work part-time in education and continue to work as a freelancer. I take on styling jobs, write about fashion, and produce a podcast. This keeps me connected to the industry, allows me to continue my professional development, and enables me to bring current knowledge into the classroom. This is valuable not only for me but also for the course and my students.

This interview was conducted in writing.

The Australian Fashion Council (AFC) has commissioned a feasibility study into establishing a clothing smart factory in New South Wales, with the longer-term aim of creating a scalable model for local garment manufacturing.

Fashion students from universities across the UK have been recognised at a reception at the Houses of Parliament after creating upcycled garments for the inaugural Singer Sustainable Sewing Awards, an initiative supporting children's charity Barnardo's.

The competition, organised by Singer Sewing Machines UK, invited students to transform pre-loved garments into original fashion pieces that demonstrate creative design while promoting textile reuse. All of the shortlisted garments will be sold during a Barnardo's eBay Live auction in August, with proceeds supporting the charity's work with children and families.

The awards were presented by The Great British Sewing Bee judge Patrick Grant, who announced Charlie Kenyon of De Montfort University, Lou Wild of Falmouth University and Sameera Kaur of the University of Westminster as the competition's three winners. Each student and their university received a Singer Heavy Duty sewing machine.

Grant highlighted the technical and creative challenges of working with existing garments, noting that the competition demonstrated how discarded clothing can be transformed into pieces with lasting value.

The winning designs reflected different approaches to upcycling. Kenyon created a patchwork shirt dress using unwanted clothing inspired by the do-it-yourself ethos of 1970s punk fashion. Wild reworked a shirt and skirt into a winter jacket, drawing on garments previously owned by family members, while Kaur's denim-based design built on an earlier university project exploring garment reuse.

The parliamentary reception also featured remarks from Mary Creagh MP, the UK's Minister for the Circular Economy, who linked the competition to wider efforts to reduce textile waste. She noted that hundreds of thousands of tonnes of textiles are discarded in the UK each year and encouraged emerging designers to consider how creative design can extend the lifespan of clothing.

The initiative forms part of Singer's ongoing partnership with Barnardo's ReFashion Hub programme, which repairs and upcycles donated garments that cannot otherwise be sold. According to Barnardo's, the charity receives around 6,000 tonnes of damaged or unsuitable clothing each year, much of which can be repurposed through repair and redesign rather than discarded.

For fashion educators, the competition highlights the growing role of circular design projects within fashion education. By combining live industry briefs, sustainability objectives and charitable fundraising, the programme provides students with practical experience in upcycling while demonstrating how creative design can contribute to reducing textile waste and supporting community initiatives.

AFRO Fashion Association and Accademia del Lusso have announced a new partnership to support emerging fashion professionals through a scholarship programme worth approximately 120,000 Euros.

The initiative will provide five scholarships to students from Cameroon, Ghana, Uganda, Nigeria and Italy, with the aim of expanding access to higher education in fashion and luxury. More than 60 applications from nine countries were reviewed through a joint selection process designed to identify candidates whose profiles matched the academic programmes on offer.

The scholarship recipients will enrol in a range of accredited programmes at Accademia del Lusso, including master's degrees in Fashion Brand Management, Luxury Management and Fashion Communication Management, as well as a bachelor's-level diploma in Fashion Design. The programmes combine academic study with workshops, interdisciplinary projects, industry engagement and career placement support to prepare graduates for roles across the fashion and luxury sectors.

The collaboration builds on AFRO Fashion Association's wider efforts to improve access to fashion education through partnerships with institutions in Europe and Africa. According to the organisation, it has previously awarded 30 scholarships to support emerging creatives pursuing studies in fashion and design, alongside mentorship and networking initiatives aimed at developing professional skills and industry connections.

Representatives from both organisations said the partnership is intended to promote merit-based access to education while reflecting the increasingly international and multicultural nature of the global fashion industry. They added that the programme seeks to equip students with the skills needed to contribute to the future development of the creative sector.

For fashion educators, the initiative highlights the growing role of scholarship programmes and institutional partnerships in widening participation in fashion education. It also reflects an increasing emphasis on combining academic learning with industry experience, mentorship and international collaboration to prepare students for careers in the global fashion and luxury market.

Interview

As applications for the 2028 edition of the International Woolmark Prize (IWP) have officially opened, the prestigious competition is shaking up its own rules. For the first time in seven decades, the prize is no longer exclusively for founders of independent labels. It is now open to designers working within established houses.

Damien Pommeret, regional director for Western Europe at Woolmark, explains the reasons for this strategic pivot to FashionUnited. He also analyses the economic transformations affecting young designers and the merino wool market.

The IWP is undoubtedly one of the most legendary launchpads in global fashion. For over seventy years, this competition dedicated to innovation with Australian merino wool has propelled the greatest names in couture history. These include Karl Lagerfeld, Yves Saint Laurent and Valentino Garavani, as well as major contemporary figures like Rahul Mishra and Gabriela Hearst.

For this new cycle, with the final taking place in 2028, the Woolmark organisation is evolving its eligibility criteria. The finalists will each receive a grant of 60,000 Australian dollars to design a capsule collection. They will then compete for the grand prize of 300,000 Australian dollars. Finalists will now be selected from both independent brands and talents working behind the scenes in the industry's design studios.

You are now opening the prize to designers who have not necessarily founded their own brand. Is this a sign that the independent designer model is becoming more difficult economically? What are you observing today in the career paths of young talent?

Damien Pommeret: The evolution of our eligibility criteria primarily reflects the evolution of the fashion industry. Designers' career paths are much more diverse today than they were a few years ago. Talent emerges from both independent brands and the design studios of established houses, where they develop high-level expertise and creative vision.

With this new edition, we wanted to ensure that the IWP continues to reward the best talent, regardless of their working environment. Our ambition has never been to single out a particular entrepreneurial model. Instead, we aim to recognise designers capable of pushing the boundaries of design and innovation, and demonstrating the potential of merino wool to shape the future of fashion.

Of course, we are aware that young designers are operating in a more demanding economic context today. This is precisely why the IWP is much more than a competition. It is a comprehensive development programme. It combines financial support; mentorship; technical expertise; access to an international network; and global visibility to provide long-term support for designers on their journey.

The Woolmark Prize has discovered Karl Lagerfeld, Yves Saint Laurent and Gabriela Hearst. Today, how do you concretely measure the prize's impact on the winners' careers? Do you have data on their commercial development five or ten years after their victory?

Damien Pommeret: The legacy of the IWP is exceptional, and its impact is primarily measured by the career paths of the designers it supports. Beyond the financial grant, the Prize offers international visibility and recognition from buyers, media and fashion houses. It also provides privileged access to a global network of experts and industry professionals.

The most recent results illustrate this dynamic. Since the last edition, winner Duran Lantink has been appointed artistic director of Jean Paul Gaultier. Two finalists have also secured major roles: Meryll Rogge has taken over as artistic director of Marni, while Rachel Scott, founder of Diotima, has been named artistic director of Proenza Schouler. These appointments demonstrate the IWP's ability to identify the designers who are already shaping the next generation of fashion.

Each designer then follows their own path, but the IWP acts as a true career accelerator. It provides industry recognition and access to a global network of experts, manufacturers, buyers and media. For many of our past finalists and winners, these connections, credibility and the resulting opportunities are the true legacy of the Prize.

Beyond creativity, are we seeing a real economic comeback for wool? Are new regulatory requirements, the search for traceability and the questioning of synthetic fibres genuinely changing brand demand, or is it still mainly about image?

Damien Pommeret: We are observing a fundamental shift. Brands are no longer just looking for creative or premium materials. They now expect fibres that can meet growing demands for performance, traceability, sustainability and regulatory compliance.

In this context, merino wool addresses several strategic challenges. It allows brands to reduce their reliance on synthetic fibres by using a natural, renewable and biodegradable alternative. It also offers recognised technical performance in terms of comfort, breathability, durability and versatility.

Beyond its intrinsic qualities, wool can also play a positive role for nature when produced using responsible farming practices. The preservation of soil, biodiversity and ecosystems is a central concern for many farmers. This is because the health of the pastures directly affects the health of the flocks and the quality of the fibre. This approach illustrates the potential of natural fibres to be part of a more regenerative vision for fashion.

The role of the IWP is precisely to prove that merino wool is not only a responsible material but also a formidable driver of innovation. Designers today use it in tailoring, knitwear, technical textiles and experimental developments. This proves it meets the creative, environmental and economic expectations of the industry. Its comeback goes far beyond mere image-making; it is part of a structural transformation in the material choices made by brands.

On Wednesday 1 July, AMFI opened its doors for AMFI NEXT – the annual graduation event where the Amsterdam Fashion Institute presents its graduates in direct dialogue with the fashion industry. Where last year's edition renewed the format, this edition took a step forward: for the first time, AMFI NEXT spanned the full breadth of AMFI's programmes, connecting bachelor's graduation work with master-level education and international research.

Visitors explored graduation projects from Fashion & Management, Fashion & Branding and Fashion & Design, presented alongside work from the new master track Digital Fashion Technology (part of the Master Digital Design). In panel discussions, graduates entered into conversation with industry professionals about the questions driving their work: inclusivity and identity, cultural heritage, digitalisation and sustainability. Throughout the exhibition spaces, visitors engaged directly with the graduates about their work and process.

“AMFI NEXT is designed to give our graduates the platform they deserve. This evening is about stepping into the industry - not through a job application, but through real conversations. For visitors it is an opportunity to explore how the next generation challenges the status quo; graduates present not just their final work, but also the thinking and research behind it.” – Bregje Lampe, director AMFI

This edition also introduced a research dimension. The Green DigiFashTech Manager consortium – an Erasmus+ project in which AMFI is a partner – presented the job profile and training for the Green Digital Fashion Manager: a forward-looking leadership role bridging creative design, digital innovation and sustainability governance. Visitors could explore the accompanying e-learning platform, open to students and professionals working at the intersection of fashion, technology and sustainability.

The day concluded with Avond aan de Amstel: Does Gen Z even exist? – a live debate on generational thinking in fashion, with generations expert Laura Bas, Samin Koblmüller (La Fam Amsterdam) and Luna Sourkhan (Banlieue), hosted by AMFI's Stephany Goncalves and dr. Marco Mossinkoff. The evening programme extended the conversation between education, research and the professional field well into the night.

With this second edition, AMFI NEXT confirms its ambition: not only a celebration of the next generation of fashion professionals, but a yearly meeting place between education, research and industry – and one to watch in the years ahead.

AMFI thanks all students, speakers, visitors and partners who made this edition possible.

Take a look at the aftermovie

A Second Chance, Inc. will launch the second year of its Fashion Forward Kinspire™ programme this summer, expanding a fashion education initiative designed to introduce young people in kinship and foster care to careers across the fashion industry.

The programme combines mentorship, career exploration and creative learning with a redesigned curriculum focused on confidence-building, personal branding and professional development. Participants will work with fashion industry professionals before taking part in a behind-the-scenes experience during New York Fashion Week.

According to A Second Chance in a press release, the programme has already supported 15 young people from seven cities, connecting them with fashion professionals and cultural organisations. The organisation plans to broaden these opportunities to help participants build professional networks and explore career pathways as they transition into adulthood.

Alongside fashion-focused activities, participants will visit cultural institutions including The Metropolitan Museum of Art and the Schomburg Center for Research in Black Culture, linking creative industries with identity, cultural heritage and personal development.

Fashion Forward Kinspire is a collaboration between Pittsburgh-based nonprofit A Second Chance, Inc., which supports children in kinship care, and Think of Us, a nonprofit focused on child welfare research and innovation. The partners say the initiative is designed to help participants develop professional skills, confidence and industry connections while highlighting the range of careers available within the fashion sector beyond design.

For fashion educators, the programme illustrates how industry partnerships can be used to widen access to fashion education and careers for underrepresented young people. By combining mentoring, experiential learning and exposure to cultural institutions, the initiative demonstrates an approach to creative education that supports both career readiness and personal development.

Istituto Marangoni Paris presented Crafting Futures, its fashion design graduate show for the 2025/2026 academic year, on July 6, 2026, at the Hôtel de Galliffet, home to the Italian Cultural Institute in Paris. The show marked 20 years since the school's Paris campus opened in the French capital in 2006.

Valérie Berdah Levy, school director of Istituto Marangoni Paris, highlighted the anniversary. "For twenty years, Istituto Marangoni Paris has welcomed emerging talents from around the world, transmitting essential know-how while integrating new technologies into creative practices," said Berdah Levy. "The collections showcased this year embody this legacy and reflect the boldness of a new generation."

Ten graduate collections formed a creative atlas spanning India, South Korea, France, Germany, Cambodia, Palestine, Taiwan and Switzerland, reflecting the school's international student body and its range of cultural references. A closer look at each of the ten graduates and their collections follows below.

Kimgy Lao, Cambodia

Kimgy Lao specialises in womenswear built on craftsmanship, structure and subtle manipulation. Her collection 'Home' merges 18th century tailoring with the exaggerated shoulders of 1980s womenswear, using the extended shoulder as emotional armour to reflect distance and adaptation while studying abroad.

Tanisha Nevrekar, India

Tanisha Nevrekar specialises in womenswear that blends Indian heritage with a contemporary global aesthetic, with sustainability at the core of her design process. Her collection 'AHILYA' draws on the Hindu myth of Ahilya, using power dressing as a symbol of women's resilience and reclaimed identity. Nevrekar hopes to pursue a role in haute couture or womenswear in Paris.

Grace Ilis, Switzerland

Grace Ilis, born in Zurich, specialises in womenswear exploring female empowerment through conceptual storytelling and technical innovation. Her collection 'Disrupted Lineage' contrasts historical garment revival with modern overconsumption, juxtaposing latex and silicone-inspired materials with silk and gabardine to question tradition, innovation and bodily freedom. Ilis plans to continue exploring the intersection of design, technology and brand identity.

Amro Najd Atamleh, Palestine

Amro Najd Atamleh specialises in jersey and one-piece garments exploring fluid fabrics through structured, geometric patterns and zero-waste construction. His collection 'The Voice of Silence' draws on Palestinian costume and embroidery, blending thobe construction with Parisian couture drapes to speak to identity and silence. Atamleh will join Laska Paris as head of image after graduation.

Chae Rin Park, South Korea

Chae Rin Park specialises in sculptural womenswear inspired by architecture and personal narratives. Her collection 'Concrete Garden' translates Korean modern architecture into three-dimensional, sculptural garments, contrasting rigid geometric structures with organic, grass-inspired textiles. Park hopes to gain experience at a luxury fashion house before launching her own brand.

Carlotta Baader, Germany

Carlotta Baader specialises in womenswear rooted in art history and feminist narratives. Her collection 'The Woman Between Rooms' follows a woman's journey from Paul Poiret's 1920s salon to her own studio, inspired by Eileen Gray and Virginia Woolf, exploring the shift from social performance to creative and intellectual autonomy. Baader will intern in the design department at Proenza Schouler in New York.

Marina Roudier, France

Marina Roudier specialises in creative tailoring, applying traditional techniques to original garment constructions. Her collection 'Lipstick Breakfast' extrapolates unconscious styling gestures, such as rolling up a sleeve, into a hyperbolic vision of a calmer, more genuine future. Roudier wishes to intern in the tailoring studio of an established Parisian house.

Ko Hsun (Jessica) Sun, Taiwan

Ko Hsun (Jessica) Sun specialises in craftsmanship, gender-fluid fashion and narrative-driven design. Her collection 'The Hanging Memory' reinterprets vintage garments from her grandparents' and parents' wardrobes, using hangers and clips as structural elements that express memory and the passage of time. Sun hopes to build her skills in textile design and pattern making.

Trisha Talpady, India

Trisha Talpady works in conceptual womenswear centred on material exploration and equestrian culture. Her collection 'A Continuum of Form: Held in Balance' deconstructs the saddle to translate its structure into garment architecture, reinterpreting masculine-coded equestrian tailoring to challenge gender norms. Talpady hopes to join a luxury fashion house to develop her leather craftsmanship further.

Simon Chichportich, France

Simon Chichportich works with leather practices and fabric manipulation, drawing on rock, disco and nightlife codes, and collaborated with Rino Mastrotto leathers on his collection. 'Eclipse Fantasy' explores the tension between vulnerability and power through 1980s and 1990s nightlife, where fragility transforms into strength on the dance floor. Chichportich hopes to join the design department of a Paris fashion or couture house.

Massimo Casagrande, director of education at Istituto Marangoni Paris, reflected on the graduating class. "At Istituto Marangoni Paris, we believe it is our responsibility to cultivate the creative talent, technical excellence and critical thinking that will shape the future of fashion," said Casagrande. "This year's collections are the culmination of months of research, experimentation and dedication, demonstrating that innovation is most meaningful when it is rooted in craftsmanship, knowledge and individual vision."

Programme leader Warren Leech pointed to the students' approach to craftsmanship. "This year's collections celebrate craftsmanship and traditional techniques, reinterpreted through a contemporary lens," said Leech. "In an era shaped by artificial intelligence, this new generation demonstrates a desire to design differently, drawing on the knowledge of the past while embracing the possibilities of tomorrow."

Asos has launched Arrange Bespoke, a new collaboration series designed to bring emerging creative talent into its elevated occasionwear label Arrange.

The initiative debuted during Paris Haute Couture Week with a hand-crafted dress created by Central Saint Martins student Johannes Warnke. Developed alongside the Arrange design team, the piece combines production remnants and off-cuts with the brand’s naturally dyed peace silk, highlighting a focus on reuse, construction and craftsmanship.

The collaboration offers a preview of the creative direction behind future Arrange collections, with further partnerships planned to showcase emerging designers and their approaches to fashion.

In a statement, Vanessa Spence, EVP brand and creative at Asos, said: “Arrange Bespoke gives us an opportunity to celebrate fashion in its most expressive form while offering a glimpse into the creative thinking behind Arrange.”

She added that the series will help “spotlight the next generation of designers” while showcasing the craftsmanship and storytelling behind the product.

Warnke said the design was inspired by movement, light and the streets of Paris, explaining: “It all started by intuitively re-collaging repurposed off cuts, playing with different sequin sizes and shapes to create rhythmic compositions that flow across the body.”

Manchester Fashion Week has unveiled its biggest programme to date for September 9 to 12, alongside the launch of C.T.E.M. Fashion Collective, a new non-profit initiative designed to create year-round opportunities for emerging designers, students and young creatives.

The expanded event will take place across multiple venues in Manchester's St. John's district, featuring runway shows, exhibitions and industry talks. Highlights include the return of Malon Fashion, IGC Fashion showcasing Ugandan design talent, and speaker sessions with Katharine Hamnett CBE and Lynne Franks OBE.

The launch of C.T.E.M. (Culture, Technology, Education and Manufacturing) marks the event's biggest strategic development, extending Manchester Fashion Week beyond its annual schedule. The organisation will work with schools, universities and youth groups to support skills development, sustainability and careers in fashion.

Projects already underway include workshops with more than 270 pupils across nine Co-op Academy schools and the Future Threads programme, where young people will create a runway collection from reclaimed materials under the guidance of The Great British Sewing Bee winner Luke-Matthew Iveson.

In a statement, executive producer Gemma Gratton said: "Manchester Fashion Week is the city's platform to celebrate creativity, culture and the future of fashion. But for us, the runway is only part of the story. Through C.T.E.M. Fashion Collective, we're creating opportunities throughout the year by connecting young people, education, industry and communities across Greater Manchester."

She added: "By the time September arrives, hundreds of young people will have already experienced Manchester Fashion Week before the first model steps onto the runway. That's how we ensure Fashion Week doesn't just showcase our city, it grows with it."

John Higginson, CEO of Eco Age and a non-executive director of C.T.E.M., said the initiative provides "a genuine model for what the fashion industry can become when it invests in communities, education and future talent", adding that it transforms the event's ambitions into "meaningful, measurable impact".

All industry insiders know Polimoda, a Florentine institution of excellence in the fashion landscape. However, few are aware that the International Polytechnic of Fashion, now Polimoda, was founded in 1986. It was established through a collaboration between the city of Florence and New York's Fashion Institute of Technology (FIT). The initiative was led by the municipalities of Florence and Prato and the Province of Florence, together with Fondazione CR Firenze; Centro di Firenze per la Moda Italiana; the Florence Chamber of Commerce; Confindustria Firenze; and local business associations.

The link between FIT and the Florence school has always existed. Today, the two institutions are celebrating 40 years of collaboration and announcing the renewal of the agreement that has united them since 1986.

Polimoda provides Fit students with design labs, leather goods spaces and textile research facilities

The agreement for the next three years was signed in recent weeks during the Polimoda Graduate Show 2026 in Florence, where FIT president, Jason S. Schupbach, was a special guest. The event marked the first meeting between Schupbach, a national expert in supporting creative systems, and Polimoda president, Niccolò Ricci. Ricci is the CEO of the international luxury group Stefano Ricci spa.

Both having taken office in 2026 at their respective institutions, the two presidents chose the fortieth anniversary of the collaboration to set a common direction: to consolidate a historic bond and project it towards new goals.

With its Manifattura Campus and Villa Campus, a training hub of over 15,000 square metres in the heart of Florence, Polimoda provides FIT students with design and garment-making labs; spaces dedicated to leather goods and textile research; and photography studios.

Renewal of agreement ensures continuity of Fit in Florence

The renewal of the agreement ensures the continuity of FIT in Florence, FIT's Florentine division, which welcomes American students each year to study Fashion Design and Fashion Business Management at Polimoda's campuses. The programme offers students the opportunity to immerse themselves in Italian fashion culture and practice, developing the creative flexibility and adaptability required by an increasingly global and competitive market.

“To be called upon today to represent Polimoda, an institution of excellence that has promoted the prestige and name of our city on the international stage for forty years, is a source of deep pride and responsibility. In 1986, the Fashion Institute of Technology was instrumental in the birth of an ambitious vision: to establish a training centre in Florence capable of combining the know-how and craftsmanship of the Italian model with a global perspective. That vision has been consolidated over time, creating one of the most authoritative academic institutions in the fashion sector worldwide and strengthening a strategic link between Florence and New York,” emphasised Niccolò Ricci, president of Polimoda, in a note.

“FIT joins Polimoda in celebrating forty years of contribution to fashion education on a global level,” observed Jason S. Schupbach, president of FIT. “The partnership with Polimoda is one of our institution's most significant and long-standing. The programmes developed during this collaboration have contributed to the excellence of both institutions. Our shared history has strengthened the creative industries of Florence and New York. With the renewal of this agreement, I look forward to all that we can build together.”

40 years ago, the New York institute provided staff and expertise to build the new school's curriculum. It entrusted professor Alan Fishman, a twenty-year FIT administrator and lecturer, with the task of moving to Florence to launch the courses. Fishman served as the first director of Polimoda from 1986 to 1992, under the presidency of Alberto Amorosi, who was then a councillor for the Municipality of Florence. The school opened in October 1986 in Florence, initially at Villa Strozzi, provided by the Municipality of Florence, with 52 students from six countries selected from over 300 applicants.

The stated objective was to create what Fishman at the time called a “modern apprenticeship system”: immediate vocational training capable of preparing graduates to enter the industry directly. It is a model that in forty years has trained generations of fashion professionals and is now embodied in an institute with 2,000 students from 107 countries worldwide.

On Thursday 18 June, Amsterdam’s Central Market Hall hosted the AMFI Fashion & Design Graduation Show 2026. Before an audience of industry professionals, press, family and friends, 43 graduating students from AMFI – Amsterdam Fashion Institute unveiled their final collections, marking the culmination of four years of research, craftsmanship and creative development. The result was a new generation of designers, each presenting a distinctive creative voice.

A 50-metre runway ran through the centre of the venue, framed by vertical LED displays featuring the designers’ names and collection titles. From the surrounding balconies, moving spotlights followed each model, bringing silhouettes, textures and craftsmanship into sharp focus.

The collections reflected a broad spectrum of contemporary fashion practices, ranging from sharp tailoring and innovative ready-to-wear to experimental couture and conceptual streetwear. Other projects explored performativity, movement and the relationship between clothing and the body. What united the graduating cohort was the way personal narratives were translated into thoughtfully developed collections with a strong sense of authorship and technical skill.

At AMFI, students are encouraged not only to design, but also to research, experiment, develop and position their work within today's fashion landscape. That approach was evident throughout the show, as designers transformed personal starting points into collections that engaged with wider social and cultural questions.

The programme’s key themes; sustainability, diversity and digitalization, were reflected in subjects including the tension between romance and reality, identity and belonging, queer culture, the manosphere and the role of technology in everyday life. Across the collections, traditional craftsmanship was combined with innovative materials and contemporary narratives, demonstrating how heritage and innovation can reinforce one another.

"What connected the collections was a visible joy in making, combined with a desire to imagine alternative futures. The result was a show in which research, craftsmanship and imagination came together," said Oscar Raaijmakers, Graduation Coordinator, Fashion & Design.

AMFI congratulates all graduates on this important milestone and looks forward to following the ways in which they will contribute to the future of fashion and the wider cultural conversation in the years ahead.

Show Development & Head of Production: Py Tswang Jin (AMFI Connect) | Show Production: Faima Karimi | Show Direction & Choreography: Nathalie Haelermans and Bas Andrea @FRONTROWBACKSTAGE @House of Orange | Hair & Make-up: Art of Colors | Technical Production: Stefan Prokop | Technical Execution: MNT Stoker | DJ: Julian Sentener | Show Videography: Martine Stig and Bette West Kolman | Drone Operation: Maximilian Robijns | Show Photography: Sanne Peper | Backstage Photography: Zoie Kasper | Communication: Milou Schmit (AMFI) | Graphic Design: Ilaria Poloni

Special thanks to BOEi, Centrale Markthal, Oscar Raaijmakers and Mikki Engelsbel (Graduation Coordinators Fashion & Design) as well as Niall Cottrell, Pieter Eliens, Mark Goss, Mirjam Ingram, Ellen Jaarsveld, Calvin Kooiman, Andrea Kristic, Charlotte Lokin, Alina Morar, Birgit Muis, Oscar Raaijmakers, Karime Salame Sainz and Saskia Stöckler (Fashion & Design Graduation team).

Talent development remains a strategic focus for the Kering group's brands. The company announced today that it has signed the first memorandums of understanding with eight local educational institutions at the Campus Valore Italia - Mind Milano innovation district.

This initiative aims to create a widespread network capable of projecting traditional crafts into the future. Specifically, the network involves eight local organisations: ACOF, AFOL, Capac, Galdus, HModa, ITS Cosmo, Istituto Modartech and Schola.

The Think Tank 'Comitato di pensiero', an advisory body that will guide the strategic development of the Kering Accademia per le eccellenze, has now been established. This network is led by Sabina Belli, head of Kering Accademia per le eccellenze and CEO of Pomellato.

It also includes Alba Cappellieri, head of jewellery and accessory design at Politecnico di Milano; Angelo Crespi, director general of the Pinacoteca di Brera, the Biblioteca Nazionale Braidense, Palazzo Citterio and the Cenacolo Vinciano; and Stefania Lazzaroni, director general of Altagamma.

“With the Kering Accademia per le eccellenze, we do not simply want to pass on a technique inherited from the past, but to transform traditional crafts into dynamic, contemporary and strongly future-oriented professions. To respond to this change, we must combine the precious 'intelligence of the hands' with critical thinking, creativity and technological innovation,” Belli emphasised in a note.

The initiative is structured as a nationwide training ecosystem, created to bring together and strengthen the existing training centres within the group's historic maisons, such as Bottega Veneta, Brioni, Gucci and Pomellato itself.

The academy's curriculum redefines the training approach by combining the four traditional pillars of the sector: clothing, men's tailoring, leather goods and jewellery. This is integrated with the development of cutting-edge skills related to technology, artificial intelligence and new materials, aiming to transform classic crafts into dynamic and forward-looking professions.

The signing of the first memorandums of understanding marks the beginning of a collaboration based on the sharing of skills and educational pathways.

Redress has announced the eight finalists for the 2026 edition of the Redress Design Award, highlighting emerging talent that spearhead circular and sustainable fashion practices.

Representing seven regions across Europe, Asia, and the Middle East, the eight finalists will showcase their collections at the Grand Final Fashion Show in Hong Kong in September. Each collection produced by the finalists will showcase a solution for common as well as more complex issues surrounding textile waste, focusing on circular design.

Two of the finalists hail from Hong Kong: Jasmine Cheuk and Issac Tong, who developed their collections from post-consumer and pre-consumer waste, including excess stock, damaged textiles and industrial waste, using reconstruction and upcycling techniques.

Alexandra Burch, from the United Kingdom, created her collection from faulty and reclaimed tweed blankets, while Tal Zohar of Israel combined recycled fibres, leftover leather waste, secondhand hardware, and excess yarn. Jon Liesenfeld of Germany and Holly Shih, of British and Taiwanese heritage, both worked with non-clothing waste, including vintage furniture leather, army canvas, and reclaimed rattan.

David Schuch of Austria turned to biodegradable fruit leather and ethically sourced, non-livestock wool, while Yi Ding of China used engineered knit made from recyclable polyurethane yarn to create fully zero-waste knitwear.

“Around the world, the legislative hammer is coming down on the polluting fashion industry,” said Dr. Christina Dean, founder and chair of Redress and judge, in a comment. “Despite the complexity, the fashion industry is screaming for circular design solutions. The Redress Design Award circular fashion designer finalists are the breed of the future.”

In August, the public will also be invited to cast their vote for the People’s Choice Award, an award that highlights the importance that consumers have in tackling fashion’s waste crisis. The People’s Choice winner will be announced during the Grand Final in Hong Kong, which will be livestreamed for viewers around the world.

The winner of the Redress Design Award will receive an exclusive trip to the UK, where they will connect with leading players in the sustainable fashion space to gain further insights into responsible fashion design, development, and manufacturing. Tailored to the winner’s career goals, the prize includes international exposure, industry mentorship, and valuable real-world experience within the sustainable fashion industry.

The Redress Design Award, supported by lead sponsor the Cultural and Creative Industries Development Agency (CCIDA), is the world's leading sustainable fashion design competition, with alumni across more than 40 regions.

For its 2026 edition, ESMOD Paris presents the work of 37 Bachelor Fashion Design graduates, unveiling collections that reflect distinctive creative identities, technical excellence, and thoughtful perspectives on the transformations shaping contemporary fashion and the wider creative industries.

An International Stage for Tomorrow's Talent

Talent Show 2026 brings together designers graduating from ESMOD's campuses in Paris, Lyon, Bordeaux, Rennes, and Seoul, highlighting the school's international reach and the diversity of creative approaches nurtured across its global network.

The participating designers are Amanda Antunes, Angelina Barseghyan, Eve Bernat-Salles, Eva Bril, Anaelle Bu Taubert, Martina Carosella, Radia Chraibi, Marine Collet, Arthus Daigre, Boubacar Diallo, Gaëtane Du-Parc, Lucas Fischer, Margot Gayraud, Mette Glawe, Marie-Wen Harhoura, Aria Hatot, Ziyu Huang, Cecilia Janice, Seokhwan Jang, Eva Jaquinet, Felicija Kaciulyte, Da Young Kang, Dedee Kozelj, Camille Laveran, Milane Laun-Garault, Charlotte Le Berre, Alice Lessa-De-Moura, Thaïs Louis, Manoela Morais Serrato, Guillaume Novoa, Yuu Ochiai, Laura Pohl, Sofia Rohozhynska, Frida Pauline Scheler, Yann Schloesser, Italo-Akira Succi, and Lola Verdière.

Each collection stands as a complete creative statement—both a personal manifesto and a compelling vision of fashion today.

Collections That Reflect Our Times

Memory, heritage, craftsmanship, architecture, innovation, emerging technologies, identity, sustainability, the poetry of everyday life, and pressing social issues are among the themes explored throughout this year's collections.

Moving beyond aesthetics alone, these young designers develop distinctive visual languages that combine conceptual research, textile experimentation, pattern-making expertise, and exceptional craftsmanship.

Through their work, they demonstrate an ability to transform ideas into coherent creative propositions capable of engaging with an industry undergoing profound change.

At ESMOD, fashion is understood as both a cultural language and an economic force. For more than 180 years, the school has empowered students to develop strong creative identities by combining fashion design, pattern making, craftsmanship, fashion culture, innovation, and emerging technologies.

This educational approach prepares graduates to join leading international fashion houses, creative studios, launch their own brands, or pioneer new professions across the creative industries.

Talent Show represents the most visible expression of this philosophy: revealing designers who are ready to imagine the future of fashion with equal measures of creative freedom and professional excellence.

Where Education Meets Industry

Each year, Talent Show brings together the fashion ecosystem around ESMOD's Bachelor Fashion Design graduate collections. Luxury houses, creative directors, recruiters, buyers, French and international media, cultural institutions, professional organizations, industry partners, and alumni gather to discover the next generation of creative talent before they enter professional life.

More than a runway presentation, Talent Show reaffirms ESMOD's role as a bridge between education and industry, offering graduates an exceptional platform for visibility and professional opportunities.

Credits

• Art Direction & Production: Amandine Labbé
• Production: Idriss Bellouti, Jérémy Varlet
• Executive Production: Kamolia – Devi Sok
• Production Assistants: Edwin Hermel, Océane Noyelle, Charlotte Hostier, Jongwook Lim, César Motte
• Casting: Idriss Bellouti
• Image Production & Film Direction: Maxim Monti
• Technical Production: Leni Event Tech
• Make-up: Le Rouge Français – Aliénor Dervanian (ITM)
• Hair: Kevin Murphy – Anthony Tomarelli
• Music: Jessica Nérèstant
• Communications & Press: Elisa Palmer, Janan Fugel, Kenny Hazael, Elsa Jacquet, Jean-Baptiste Pennel, Mila Mouangue

Partners

Printemps • Le Rouge Français • Kevin Murphy • Fédération Française du Prêt à Porter Féminin • ITM • Cazo

ESMOD also extends its sincere thanks to Yoshinori Yamashita, Véronique Beaumont, Leslie Teboul, and to all the faculty members, guest lecturers, and industry professionals who supported this graduating class throughout their journey to Talent Show 2026.

The New York School of Design (NYSD) and the University of New York in Prague (UNYP) are launching the Fashion Design Management Concentration, a new global academic partnership set to debut in Fall 2027. The 3.5-year program will give students dual international credentials, with a recognized Bachelor of Business Administration (BBA) from UNYP and a Fashion Design Certificate from NYSD.

Graduates will complete their foundation and advanced business courses in Prague before joining an immersive residency at NYSD’s Manhattan campus in their sixth semester. The creative residency is described as a hands-on experience in professional design studios, where they will be able to develop their portfolios and join exclusive industry workshops and events.

"We are incredibly proud to partner with UNYP to bring this innovative program to life," said Janet Tsong, president, NYSD, in a statement "By connecting the academic excellence of Prague with the vibrant energy of New York's fashion ecosystem, we are empowering the next generation of global fashion leaders to understand both the commercial and creative forces driving the industry."

According to the NYSD, the program was designed to help students succeed across diverse career pathways, such as brand management, fashion marketing, product development, and fashion entrepreneurship. The curriculum blends marketing, finance, strategy, and entrepreneurship with design, product development, and creative processes. Students will also be eligible for a partnership scholarship applied toward the NYSD portion of the program.

The Portuguese Footwear Association (APICCAPS), in collaboration with the London College of Fashion, UAL, has named Pranav Sudhir from LCF as the winner of the second edition of the Portuguese Footwear and Accessories Design Award.

The award, designed to nurture emerging talent across both footwear and accessories design, was awarded to Sudhir, a BA (Hons) LCF Cordwainers Footwear graduate, in recognition of his “striking 3D experimentation,” and “the confident way he develops ideas through making, allowing a natural flow to emerge from his manipulation of materials”.

As winner, Sudhir will go on to develop a collection with suppliers from APICCAPS, with samples manufactured in Portugal and the opportunity to be showcased within future activations from the association.

Commenting on his win, Sudhir said in a statement: “I had expected to leave university and spend the summer searching for work, so to be able to start developing a collection immediately after graduating is something I feel incredibly fortunate about.

“The opportunity to have samples produced and gain exposure to the industry makes this a huge springboard for my career.”

APICCAPS described the level of submissions for this year’s prize as “exceptional,” and also named fellow BA graduate Yevheniia Mizevych as an honorary winner. The judging panel said that her work was repeatedly highlighted as one of the strongest in the group for being “eye-catching and visually impactful yet grounded in an aesthetic that remains believable and wearable”.

Cláudia Pinto, communications director at APICCAPS, added: “We remain deeply committed to investing in emerging international talent and creating meaningful connections between creativity and industry.

“Portugal offers world-class manufacturing capabilities, technical know-how, innovation, and a growing commitment to sustainability and technology, and by connecting these strengths with the vision and ambition of young designers, we can help shape the next generation of products, brands and ideas.

“The quality of this year’s submissions was so high that we chose to name an honorary winner alongside the main prize, recognising the outstanding work presented by the students.” As part of the collaboration between APICCAPS and LCF, the designers have been travelling to Portugal to discover its production ecosystem and building relationships directly with the region’s manufacturers.

The Catalan design school, ESDI, presented the final collections from its latest fashion design graduating class on June 30. The school, affiliated with Ramon Llull University, held a show titled “Limit(less)”. The event took place in the underground car park of La Roca Village, the outlet centre part of The Bicester Collection.

The show reveals how younger generations are interpreting current fashion through designs that span very different styles. Classic codes, such as tailoring, corsetry and traditionally cut outerwear, are reinterpreted by the students as a canvas for experimentation.

The text continues after the images.

The award for the best collection went to designer Andrea Criado for the project 'Una Lástima', selected from six finalists. The collection addresses the impact of trauma on daily life and its long-term effects. This translates into twisted garments, altered volumes and an aesthetic of organic decay, with mould as a metaphor for progressive deterioration.

The collection is framed by a reflection on the relationship between the individual and the collective in a hyper-connected generation that works from a personal perspective without losing context. The set design supported this idea with a space divided into areas marked by chairs and black carpet, creating a path where each collection had its own space within the whole.

Criado will also represent ESDI at the Cruïlla Festival on July 10 as part of the '080 x Cruïlla Proyectando Talento' initiative, promoted jointly with 080 Barcelona Fashion. There, she will present a selection of four looks from 'Una Lástima' alongside students from other Barcelona fashion schools.

The show was presented by photographer and content creator Àlex Grimà. The jury was composed of Cristina Viollaz, business director of La Roca Village; Martín Torres, co-founder of Editorial Superflua; Arnau Climent, an ESDI alumnus and founder of the brand AAA Studio; and Paula Viana, a content creator, founder of Spain Gallery and also a school alumna.

ESDI was founded in 1989 as the first Higher School of Textile Design in Spain. It was established following an agreement between more than 90 textile sector companies and institutions. These included the Ministry of Industry; the Generalitat de Catalunya; the Gremi de Fabricants; and the Spanish Intertextile Council. The school maintains its ties with companies and institutions through projects, applied research and initiatives linked to sustainability and innovation.

Report

On July 1, the ANDAM awards ceremony took place in the gardens of the Ministry of Culture. The four winners – Marie Adam-Leenaerdt, Pauline Dujancourt, Anthony Calydon and Phileo – share a common vision of design, where garment construction, material craftsmanship and manufacturing expertise are paramount.

“This 37th edition, ever more ambitious, is a testament to the success of an event that is now a benchmark in the fashion world and across the globe,” said the French minister of culture, Catherine Pégard, while paying tribute to the one to whom this award owes its existence.

“I want to give a special thought to Pierre Bergé, as it is a beautiful way to honour his legacy. He who so greatly helped, comforted and loved those who were just starting out, with constant curiosity and an inimitable intuition,” she added.

Marie Adam-Leenaerdt, ANDAM grand prize (300,000 euros)

Belgian designer Marie Adam-Leenaerdt is part of the Quiet Fashion trend, moving away from the rapid renewal of collections. She focuses on modular garments and the transformation of ordinary objects, in the vein of a Margiela-esque concept.

When asked by FashionUnited whether she could combine her artisanal approach with wider distribution, thanks to the growth this award will provide, she replied: “We already apply this approach daily in our creations and we manage to produce with it very well. It is not a hindrance at all. Whether we make ten dresses or 100, it changes nothing about our production principle.”

“Today, luxury is not about adding or producing more. It is about producing better,” added Adam-Leenaerdt. “This multifunctionality allows it to adapt to more women and moments in time. When you buy a garment, it must have added value. What will make a shirt wearable in multiple ways and kept for longer? The fact that one will tire of it less.”

Pauline Dujancourt, ANDAM special prize (100,000 euros)

A graduate of the École Duperré and with a master's in knitwear from the Royal College of Art, Pauline Dujancourt works almost exclusively with knitwear.

In the official press release, Alexandre Mattiussi, president of the jury, summarised her work as follows: “In a world where artificial intelligence and marketing are becoming increasingly important, nothing will ever replace the sensitivity, emotion and unique vision of a designer.”

Anthony Calydon, Pierre Bergé prize (100,000 euros)

Self-taught designer Anthony Calydon became known for his research into garment construction and particularly for his distorted ‘warped hoods’, which have become his signature. He thanked his parents for supporting him in his dream.

Phileo: accessories prize (100,000 euros)

Sneaker designer Philéo Landowski embodies the return to local production, where design relies on close collaboration with manufacturers and a supply chain within a 100-kilometre radius in Portugal.

Buenos Aires – For many fashion students, a graduation fashion show represents the culmination of years of creative work. Yet in an increasingly competitive industry, that moment can also become a first major professional opportunity. In front of the press, buyers, executives, stylists, and brands, young designers are not only presenting a collection—they are beginning to build an identity, a professional network, and a career strategy.

According to Eva Hughes, fashion business consultant and Executive Vice President of Istituto Marangoni Miami, student fashion shows have become genuine gateways into the industry. “It is very important for students to experience that moment as an opportunity to present their creations to the market,” she explains during an interview with FashionUnited.

From fashion school to industry: Leveraging graduation shows for career opportunities

Turning your final presentation into a professional launchpad

Hughes points to what takes place at Marangoni Miami as an example. Fashion shows serve as platforms where students begin to experience the real dynamics of the fashion business: fittings, styling, visual storytelling, production, and presenting their work to industry professionals.

“We want students to experience that process, enjoy it, and understand everything a fashion show entails—the models, the fittings, the collaboration between programs, the styling, how to present an image, and then how to capitalize on it,” she says.

These final presentations regularly attract members of the press, buyers, and industry leaders looking for emerging talent, giving students the opportunity to present their work to a genuine professional audience. “We want those who see the students’ work to be connected to design and connected to the industry.”

For Hughes, it is essential that young creatives understand that the runway is not the final destination. “Fashion shows don’t work if they end with applause alone,” she remarks.

Building relationships with press, buyers, and industry professionals

One of the biggest challenges for students is learning how to engage with the professional fashion industry for the first time.

“We strongly believe in giving professional exposure importance from the very beginning,” Hughes explains. “We organize private collection review sessions where students can present their looks directly and receive feedback on styling, narrative, and curation.”

Recently, the school hosted a session with model Carolina Kurkova and entrepreneur and CEO of The Webster, Laure Hériard Dubreuil, during which students presented their collections and discussed topics related to styling, image-making, and brand communication.

For Hughes, these experiences help students understand how the broader fashion ecosystem truly works. “This allows students to understand how a collection is built, but also how it functions within the complete fashion ecosystem.”

The importance of learning how to communicate a vision

Beyond design skills, Hughes believes one of the most important abilities for young creatives is learning how to articulate their ideas and build a clear narrative around their work. “What is your research? What is your narrative? What is your point of view? What is your concept? How do you explain it?” she asks.

Hughes says many students believe the garment speaks for itself. “For creative people, it is very easy to say who I am through a garment.” Today, however, companies evaluate far more than creativity alone. “Brands are not only evaluating creative talent; they are also observing how students communicate, their level of commitment, and their professionalism.” That is why much of the work following a fashion show involves transforming collections into professional tools. “How am I going to take my piece and turn it into digital content, a portfolio, a film, or a presentation?” Hughes asks.

Internships and early career opportunities

According to Hughes, the true purpose of a graduation fashion show is to open doors to early industry experiences. “Sometimes learning environments are more important than titles during the early stages,” she says, adding, “and having extensive access to internships throughout the educational journey.”

Professional preparation is equally important, whether through mock interviews, portfolio reviews, or career coaching. “The profiles that stand out most tend to be people who are curious, open to feedback, committed to their work, and capable of evolving constantly,” she notes.

Building visibility after graduation

For Hughes, a professional career truly begins after the fashion show. Maintaining visibility, building relationships, and continuing to develop a professional identity are essential for achieving long-term continuity in the industry. “This is a period of exploration, learning, and relationship-building,” she advises recent graduates. “Every experience contributes to building a professional direction.”

She also emphasizes the importance of developing clarity about one’s goals and approaching industry relationships strategically. “If you are going to contact someone, be clear from day one about what you want from that person,” she says. “Not so that person gives you a job, but so they can tell you: ‘I know exactly who I should connect you with.’”

Hughes acknowledges that many young creatives become frustrated when opportunities do not materialize immediately, but she insists that careers in fashion are built over time. “Life is a road full of curves.”

Creativity with strategy

Throughout the interview, Hughes repeatedly returns to one central idea: the need to combine creativity with strategic thinking. “We rarely talk about creativity with strategy,” she reflects. “And that will be critical for graduates to find their place within the fashion industry.”

For Hughes, professional success depends not only on creative talent but also on the ability to adapt, build relationships, and develop a clear professional vision.

While Southampton Solent University's fashion students showcased their work at Graduate Fashion Week 2026, students from the university's BA (Hons) Make-Up and Hair Design programme were working behind the scenes, creating the make-up looks for catwalk presentations throughout the event.

Held annually in London, Graduate Fashion Week brings together fashion students, designers and industry professionals from across the UK and internationally. This year marked the sixth consecutive year that Solent students have worked backstage alongside the L'Oréal Professional team, providing make-up services for models taking part in the shows.

According to course leader Donna Bevan, students from undergraduate and postgraduate levels participated in the week-long event, gaining experience in a fast-paced professional environment. Lecturer Charlotte Logue added that 2026 marked the first time first-year students had joined second-, third- and master's-level cohorts backstage, offering earlier exposure to industry practice.

The collaboration was also welcomed by L'Oréal Professional. Rubie Costin, who led the portfolio backstage hair team, said the partnership between hair and make-up teams helped create a cohesive artistic vision and praised the students' contribution during the event.

For students, the experience provided an opportunity to work with a diverse range of models and designers. First-year student Emily Williams said she valued the chance to work alongside professionals and looked forward to seeing the finished looks on the runway. Second-year student Lucy Parks took on a team leader role, coordinating responsibilities and helping deliver the make-up concepts used during the shows.

The initiative forms part of Southampton Solent University's Career Ready Revolution programme, which aims to embed practical experience and industry engagement across its courses. For make-up and hair design students, Graduate Fashion Week offered an opportunity to develop technical skills, work under professional conditions and build contacts within the fashion industry.

Accademia di Belle Arti di Brera marked its 250th anniversary with 'The Devil Wears Brera', the annual runway presentation of its Master's programme in Fashion Design. Held on 18 June, the show transformed the historic Milan campus into a catwalk, with collections presented in the corridor adjacent to Aula 55 overlooking the Magnolia Courtyard.

The event showcased the work of emerging designers whose collections explored themes ranging from identity and memory to feminism, sustainability and social critique. According to the academy, the show reflected Brera's multidisciplinary spirit, bringing together different creative languages through research, experimentation and craftsmanship.

Among the collections presented were Rita Ilaria Désirée Gottarelli's 'Future Diva', inspired by pin-up culture and showgirls; Shaima Abu Qaoud and Gilda Rita Fares' 'APPROVED', a commentary on conformity and image culture; and Thomas Pellitteri's 'Pedine', which used references to Monopoly to examine consumerism and capitalism. Other designers addressed topics including Chinese domestic culture, Iranian cinema, Victorian mourning dress and childhood memories.

Several collections focused on craftsmanship and material experimentation. Marianna Fasanelli revisited haute couture techniques through corsetry and draping, while Alessia Di Russo's 'Aware Forms' combined contemporary streetwear with Italian tailoring and recycled materials to explore adaptability and longevity in clothing. Sergio Bao drew inspiration from nomadic dress traditions, creating modular garments intended for modern urban lifestyles.

The event also highlighted collaboration across disciplines. Students from the Department of New Technologies for Art created the soundtrack and handled photography and video production for the show, underscoring the academy's emphasis on cross-disciplinary practice.

Staged as part of the institution's 250th anniversary celebrations, "The Devil Wears Brera" offered graduating designers a platform to present personal narratives and experimental approaches while reaffirming the academy's long-standing role in fostering emerging creative talent.

A final-year fashion photography student from Southampton Solent University has won the Fashion Photography Award at Graduate Fashion Week (GFW) 2026, earning national recognition for a project that explores British and Irish folklore through contemporary fashion imagery.

Ellis T. Carroll, who studies BA (Hons) Fashion Photography and Image Production, received the award for COMMON FOLK, a series of eight fashion editorials inspired by different folklore traditions from across Britain and Ireland. The project combines storytelling and fashion photography to reinterpret historical narratives for modern audiences.

Carroll said the work was influenced by his upbringing in the English countryside and his interest in the role folklore plays in bringing communities together. Through the project, he sought to use fashion photography as a way of connecting contemporary viewers with cultural traditions that continue to shape local identities.

Alongside his studies, Carroll also gained professional experience after being commissioned as a fitness photographer for fashion house Kenton Kirwan during the production of the project. He credits Southampton Solent University’s industry-focused approach and support from lecturers with helping him prepare for professional opportunities.

Graduate Fashion Week, one of the largest events showcasing emerging fashion talent, also provided Carroll with opportunities to meet industry professionals through portfolio reviews and career mentoring sessions.

Looking ahead, Carroll plans to continue developing his photography practice and expand his professional network within the fashion industry.

The award forms part of a strong showing for Southampton Solent University at GFW 2026, where 13 students were shortlisted across 17 nominations in categories including fashion photography, moving image, styling, marketing and inclusive design.

The recognition highlights the growing role of fashion photography programmes in encouraging students to draw on cultural heritage and personal narratives while developing commercially relevant creative skills. For fashion educators, the project offers an example of how academic study, industry engagement and cultural research can be combined to produce work that resonates both artistically and professionally.

ESMOD Paris will present the work of its graduating Bachelor Fashion Design students at Talent Show 2026, an annual runway event set to take place on 30 June in Paris. The showcase will bring together more than 300 guests from the fashion, luxury and creative industries, along with media, institutions, alumni and recruiters, to discover the next generation of designers.

Selected from the Class of 2026's final projects, 32 collections comprising nearly 100 looks will be presented during a 25-minute runway show. Each designer will showcase two to three outfits, highlighting a range of creative approaches developed during their studies.

According to ESMOD Paris, the collections reflect issues shaping contemporary fashion, including craftsmanship, sustainability, new technologies, interdisciplinary practices and evolving relationships to identity and the body. The event is intended to provide insight into themes likely to influence the industry's future.

The show extends beyond the designers themselves, involving more than 50 models as well as teaching teams, hair and makeup professionals and students working behind the scenes. Haircare brand Kevin Murphy and cosmetics company Le Rouge Français are supporting the event as official partners.

Founded in 1841 by Alexis Lavigne, ESMOD describes the Talent Show as part of its longstanding mission to support and promote emerging talent. Through the annual presentation, graduating students are given an opportunity to introduce their work to professionals across the fashion, luxury and cultural sectors as they prepare to enter the industry.

British heritage brand has formalised its partnership with Leeds Beckett University in Yorkshire and its BA (Hons) Fashion Design course, as part of its ongoing commitment to supporting emerging fashion talent.

The move follows the success of a pilot programme launched in 2024 and offers further opportunities for students to gain industry insight and “develop the skills needed to thrive in the creative sector,” while also reflecting Burberry’s longstanding presence in the Yorkshire region, including its Leeds office and manufacturing sites in Castleford and Keighley.

Alexandra McCauley, chief people officer at Burberry, said in a statement: “Yorkshire has long been an important part of Burberry’s story, and we are proud to support the next generation of creative talent in the region.

“Through our partnership with Leeds Beckett University, we are creating opportunities for emerging designers to develop their skills, gain industry experience and build meaningful connections with the luxury fashion industry. By investing in local talent today, we are helping to strengthen the future of British craftsmanship, manufacturing and creativity for years to come.”

As part of Leeds Beckett University’s flagship tailoring project, Burberry challenged second-year students with a live industry brief called ‘Reinventing the Trench: A Study in Craft and Form’ and tasked them with redesigning and constructing the Burberry trench coat using surplus gabardine, the fabric invented by Thomas Burberry in 1879.

In February, the students presented their trenchcoat designs at Burberry’s Castleford manufacturing site and were judged by Burberry colleagues. The Judges’ Choice award was presented to Juliet Skaife for ‘The Jetty Trench,’ a reimagining of the Burberry heritage trenchcoat inspired by silhouettes of the 1970s, while the People’s Choice award was given to Riyna Khan for ‘The ReVe Brontë’ trench, which explored 19th-century women’s fashion centred around the Brontë sisters. Both winners will undertake work experience at Burberry’s Castleford site, where they will gain hands-on insight into the design and production process behind the British house’s heritage trench.

For final-year students, the partnership focused on professional guidance and mentorship of their graduate collections. In May, students’ final garments and portfolios were judged by colleagues from Burberry’s manufacturing teams and showcased at Leeds Beckett University’s City Campus Fashion Studio.

The Burberry Award for “exceptional work” was presented to April Charlesworth, which included an embroidered gabardine certificate and a paid internship at Burberry’s Castleford manufacturing site.

Sam Hudson-Miles, course director for BA (Hons) Fashion Design at Leeds Beckett University, added: “This partnership gives our students a unique opportunity to engage directly with one of Britain's most iconic luxury brands, combining creative exploration with valuable industry experience.

“By responding to a live brief inspired by the Burberry trench coat, students are challenged to develop their own design voice while gaining insight into the craftsmanship, heritage and innovation that underpin the fashion industry. Experiences like this play an important role in preparing the next generation of creative talent for their future careers.”

Japanese fashion retailer Uniqlo, which focuses on clothing designed to make everyone's life better, has launched a scalable upcycled limited-edition collection created using returned items in collaboration with graduates from the BA Fashion course at Central Saint Martins, University of the Arts London.

The 10-piece ‘Everyday Re.Imagined’ collection, launches June 25, in 15 Re.Uniqlo Studios across the UK and Europe, and features items that rework existing Uniqlo garments through upcycling, repair and creative reconstruction, designed to offer a “fresh perspective to everyday LifeWear essentials”.

At the heart of the limited-edition collection is the concept of “giving returned items a new life,” explains Uniqlo, with the range featuring AIRism T-shirts reshaped, trousers rebuilt, and cotton fabrics reworked, meaning that no two items will be the same. At the same time, “each piece retains the character of the original garment”.

While each piece is unique, the collection also marks a shift in Uniqlo’s circularity goals, as this marks the retailer’s first scalable project, and will act as a blueprint for future collections and collaborations, as well as a way to shift consumer perspectives on circular collections, by making it “desirable”.

Uniqlo challenges Central Saint Martins graduates to rethink circularity

Maria Samoto le Dous, head of sustainability at Uniqlo Europe, said at an event in the retailer’s Covent Garden showroom: “At Uniqlo, everything begins with LifeWear, it’s about creating high-quality, simple clothing that improves everyday life, and for us to keep evolving, it's important that we keep pushing our boundaries and rethink new perspectives, and that’s why this partnership with Central Saint Martins is very important.

“Central St Martin's is known for really fostering the next generation of designers, and for having a lot of individuals who challenge conventional wisdoms and also rethink materials. That mindset is particularly important in circularity, because circularity is not necessarily only measured by rethinking existing systems; we also need to think about it completely from scratch, how we actually design products and how we use clothing.

“This Blueprint project started as a real challenge, to solve customer returns, especially those that are difficult to repair, and we asked ourselves how we can take these existing garments and how we can also reimagine them in a way that is fun, desirable, and relevant for our customers.”

As well as being scalable, the ‘Everyday Re.Imagined’ collection has also been designed to be easily adapted and created in-store at the Re.Uniqlo Studios and is affordable, with prices ranging from 29.90 to 89.90 pounds.

The collection will be available at Re.Uniqlo Studios on Oxford St, Regent St, Covent Garden, and Coal Drops Yard in London, and Edinburgh Princes St in the UK, as well as at Uniqlo stores in Paris, Berlin, Antwerp, Stockholm, Rome, Luxembourg, Amsterdam, Madrid, Warsaw, and Gothenburg.

Samoto le Dous added: “This is also the first time we are doing it at scale, so it is very exciting for us, and obviously it’s not just a one-off, this is a blueprint collection.

"What's unique about this is that we can take those designs and we can continue to readapt and reproduce them. We can also involve them over time based on customer feedback. The ambition is really to learn from this, to keep refining it, and to build a more scalable, long-term approach to circular design."

Uniqlo launches first scalable circularity collection

Samoto le Dous concluded: “One of the goals is also to make a shift change in mindset. Circularity or circular fashion can often be associated with a compromise, something that's secondary or can be very technical, so we wanted to show with this project that circularity can also be creative, and it can be expressive, and it can be desirable. It's not only about extending the life cycle of the garment physically, but it's also about extending it emotionally, so we really want to reconnect that piece and make customers just enjoy and fall in love with what they wear, finding solutions for it.

“Ultimately, the goal is to make circular fashion part of everyday life and part of our everyday customers' lives, and I think this project also shows that innovation in fashion doesn't always have to start with something new, but can also be about seeing what already exists.”

Commenting on the collection, Sarah Gresty, course leader of the BA Fashion Design at Central Saint Martins, University of the Arts London, said in a statement: The most exciting ideas in fashion often begin by looking at something familiar in a completely different way.

“Through this collaboration, our graduates have transformed everyday garments into pieces that are inventive, thoughtful, and full of possibility. It shows how creativity and experimentation can breathe new life into existing materials, challenging us to rethink the value and potential of the clothes we wear every day."

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

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

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

Lisaa Mode 2026 grand prix: Anaïs Sibran

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

Audience award: Théo Pires-Fernandes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cordwainers honour footwear students and Manolo Blahnik at annual awards

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What did that yield?

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

What distinguishes AMFI from other fashion schools?

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

How do you involve the industry?

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

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What have you achieved at AMFI in three years?

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

Which themes have become more prominent?

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

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

How do you ensure lecturers keep up?

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

What role does ethics play in the programme?

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

What is the ambition for students leaving AMFI?

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

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

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

What are you most proud of?

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

Which project stands out to you?

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

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What is next for AMFI?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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