The Young Talent of Tomorrow Fashion Design Competition has returned for 2027, inviting UK students aged 11 to 18 to design two garments created entirely from reused or recycled materials. Open to secondary students studying textiles, art, or design, the national contest challenges participants to conduct material research, document their creative development, and explore sustainable design techniques through shape, color, and storytelling.

Organizers will select three winning outfits across separate age categories, which will then be physically constructed and showcased at Graduate Fashion Week 2027. In addition to attending the flagship industry event, winners will receive framed prints of their portfolio work and secure placement in an online workshop focused on translating their physical concepts into digital garment designs.

The initiative bridges early secondary education with higher education and the professional fashion sector by embedding sustainable practices into foundational curricula. By offering young designers direct access to digital design tools and exposure at Graduate Fashion Week, the competition fosters early-stage technical literacy and aligns youth talent pipelines with the industry's increasing demand for circular design methodologies.

What does it take to bring a fashion brand to life? In Vogue Summer Program's Fashion Business course, Riley Graham explored the forces behind the industry, from retail strategy and marketing to networking and brand storytelling, all while studying in the heart of London.

Can you share some background on yourself and your current studies or role?

I am a junior at the Savannah College of Art and Design, majoring in Fashion Marketing and Merchandising with a double minor in Business and Fashion Design.

Outside of class, I am the Head Social Media Officer for SCAD’s Fashion Marketing and Merchandising Community. I currently work part-time as a boutique manager as well!

Why did you decide to enroll in Vogue Summer Program?

I have always had an affinity for fashion and how the fashion industry works as a business. I was actually trying to find internship roles when I came across this program and decided it would be perfect for me.

What significance does studying in London hold for you, and what was the most interesting thing you learned or experienced during your time there?

I was ten when I first visited London, so when given the opportunity to go back ten years later and study, I knew I had to take the chance. I fell in love with the city’s vibrant culture and knew I had to go back.

The most interesting thing I learned was how Londoners shop and how that shapes the experiences that retail stores offer. With such a populated city, there are endless options when it comes to buying clothing and accessories. Seeing how brands capture audiences and the response that customers have is fascinating.

I enjoyed learning about brand strategies and consumer behavior in the classroom, and then experiencing it in person in the city.

What were the most valuable skills you gained during the program?

Definitely my networking skills. Being able to represent myself in front of industry professionals helped me gain valuable skills and confidence.

Especially in this field, it is vital to know how to talk to and connect with people, so I was happy to have some practice through this program.

What moment from the program made you feel closest to how the industry really works?

All of the guest speakers made me feel closer to the industry. Hearing personal experiences from people in positions that I aspire to be in one day was very insightful. Also, having the opportunity to ask them questions and get personalized feedback has been valuable to my development as a young professional.

Our visit to Chanel was also very insightful. Learning about the back end of the business and then observing customers shop emphasized just how much analytics and personalization goes into the retail experience.

Something as simple as a single purchase has hundreds of people behind it. From the design and promotion, to getting the product into stores and finally making the sale.

Can you describe your final project?

Our final project was to create a brand expansion for our assigned brand (mine was Molly Goddard) and configure a marketing campaign to promote this expansion.

My group designed a capsule collection in collaboration with Harry Styles’ brand, Pleasing. Styles has worn Goddard’s work multiple times, including on the cover of his album Harry’s House. This felt like a very natural joining of two brands by notable British artists.

The collaboration would be advertised through social media outlets and an interactive pop-up in New York and London. We presented our final project to a panel consisting of Condé Nast editors, the Vogue Summer Program director, and the founder of Labrum, a London-based menswear brand.

How has the program contributed to your growth, either professionally or academically?

Learning about the fashion industry on a more global scale outside of the US has expanded my knowledge significantly, and I’m grateful for the connections I’ve made through the program.

These four weeks pushed my creative limits and allowed me to expand on my ideas in ways that I had never thought of before.

What was something about the program experience that surprised you?

All of the friends that I made! The program is only four weeks, but the number of friendships that I made is invaluable.

My biggest piece of advice to anyone thinking about attending Vogue Summer Program: go for it! You will meet so many amazing people and make friendships that last long after the program is over.

Explore Vogue Summer Programs in London

Following the jacket and the bag, Printemps turns its attention to footwear. For the third edition of the Printemps x ESMOD Prize, part of the department store's back-to-school campaign celebrating a new wardrobe essential, third-year students from ESMOD Paris's Fashion Design Bachelor's programme were invited to reinterpret an iconic piece of footwear: the loafer.

A soft, laceless shoe designed for all genders, the loafer is renowned for its comfort and streamlined construction.

Exploring new silhouettes, challenging conventional uses, combining unexpected materials and revisiting traditional techniques, the students approached the loafer as a starting point for creative reinterpretation. Through processes of transformation and customisation, these emerging designers bring a fresh visual and conceptual perspective to an enduring classic. Each piece reveals a distinctive design language, reflecting the creativity of a generation eager to question and reshape established codes.

Thirteen students were selected by a jury composed of members of the Printemps teams: Angelina Barseghyan, Marine Collet, Morgane Decomble, Reimi Inafuku, Felicija Kaciulyte, Camille Laveran, Charlotte Le Berre, Élie Michaille Rodet, Guillaume Novoa-Gueneau, Yuu Ochiai, Laura Pohl, Emeline Rigault and Amélia Rustuel.

The prototypes developed by the selected students are presented as part of “Ébauche”, one of the eleven sections of Pas à Pas, Printemps Haussmann’s cultural exhibition for the new season, curated by Sylvie Marot and Marlène Van de Casteele.

Presented from 9 September to 28 October 2026 beneath the historic dome of Printemps Haussmann, the exhibition explores footwear as an object of creativity, craftsmanship and culture. More than 200 pieces are brought together from fashion houses including Louis Vuitton, Thom Browne and Noritaka Tatehana, sportswear brands, heritage institutions including the Fondation Azzedine Alaïa, the Shoe or No Shoes Museum in Kruisem, Belgium, and the Musée des Métiers de la Chaussure in Sèvremoine, as well as private collections, the Printemps archives and ESMOD’s study collection.

Camille Laveran Wins the 2026 Printemps x ESMOD Prize

This year, the 2026 Printemps x ESMOD Prize has been awarded to Camille Laveran, a graduate of ESMOD Paris’s Fashion Design Bachelor’s programme, specialising in Accessories. Her creation, the Double Billie loafer, impressed the jury with the clarity of its silhouette, the precision of its execution and its technical mastery. With Double Billie, Camille Laveran reinterprets one of the great classics of the wardrobe: the loafer. Her approach is based on subtly transforming a familiar form.

“The idea is not to break with what already exists, but to alter it just enough to reveal a new way of seeing it,” explains the young designer.

An animal-inspired motif brings a tactile, expressive quality to the loafer, which can remain understated or become more assertive depending on the version. Today, her project is entering a new phase, with the Double Billie loafer being developed in collaboration with the teams behind Printemps’ own label, Saison 1865. This next step reflects Printemps and ESMOD’s shared ambition to support students beyond the initial creative process, giving them first-hand experience of the demands and realities of the fashion industry.

Camille Laveran succeeds Roméo Gandon-Cattier, recipient of the 2025 Printemps x ESMOD Prize. His project was praised by the jury for its thoughtful use of materials — combining patinated leather with vine shoots — as well as its technical precision and poetic dimension. His design has since taken on a life of its own: the Héritage bag, created as a tribute to his winegrower father, is now available as a limited edition across Printemps stores and on Printemps.com under the Saison 1865 label.

More broadly, this creative experience places students in conditions that closely reflect those of a professional design project: researching, designing, experimenting, prototyping, presenting and defending a concept before industry experts, and ultimately putting their work before the public. The objective is to encourage students to move beyond the academic environment and test their ideas against the realities of the industry — with one selected project progressing all the way from concept to the development of a product intended for commercial release.

Practical information

Pas à Pas. La chaussure sous ses angles.

9 September – 28 October 2026

Printemps Haussmann — Coupole Wybo 6th floor, Printemps de la Femme 58 boulevard Haussmann 75009 Paris, France

Free admission — 10 a.m. to 8 p.m.

Guided tours are available at weekends, subject to registration.

The fashion industry is increasingly looking for professionals who can work across creative, commercial and strategic functions, according to three lecturers from IED Firenze’s postgraduate programmes interviewed by nss magazine. The discussion comes as fashion roles become more specialised while also requiring greater flexibility between disciplines.

Giorgio Ammirabile, who teaches Creative Direction for Fashion, emphasised adaptability as an important skill as the industry changes. Svenja Niessen, from Fashion Merchandising and Buying, highlighted the need to identify industry shifts and develop new solutions, while Fashion Business Coordinator Alessandro Maria Ferreri argued that creative professionals also need a stronger understanding of business processes and costs.

The discussion reflects the growing overlap between creative direction, merchandising, brand management, curation and textile innovation. IED Firenze’s postgraduate offer includes programmes covering these areas, alongside a master’s degree focused on textile design, materials and circularity.

For fashion students and educators, the conversation points to a professional landscape in which technical specialisation remains important but is increasingly combined with business awareness, strategic thinking and the ability to collaborate across disciplines. Rather than focusing on a single traditional job title, emerging professionals may need to develop skills that can transfer between different parts of the fashion system.

Sustainable Fashion Week returned to the UK this week, continuing its mission of bringing eco-values beyond the traditional fashion industry and into local hubs across the country. At Norwich University of the Arts (NUA), for example, education is being positioned as a means to both discuss fashion’s sustainability challenges and also a space where alternative systems, skills and behaviours can be tested.

This edition marks the second consecutive year in which NUA is serving as the Norwich Hub for Sustainable Fashion Week, with its programme running from September 26 to October 4. Under this year’s national theme, Threads of Resistance, the university is bringing students, staff, alumni, industry partners and the wider community together through workshops, exhibitions, talks, repair activities and community projects.

For Nina Dobson, lecturer in fashion, co-chair of NUA’s Sustainability Working Group, and this year’s Norwich lead, the university’s involvement reflects a wider responsibility to prepare students for an industry undergoing significant change.

“As a specialist arts university, we have a responsibility not only to develop students’ creative skills but also to encourage them to think critically about the environmental, social and cultural impact of the fashion industry,” Dobson told FashionUnited. “Leading the Norwich Hub allows us to connect that educational mission with real-world action, bringing together students, industry, cultural partners and the wider community to explore how creativity can contribute to a more sustainable future.”

The decision to become a regional hub further reflects the role of universities as conveners within local fashion ecosystems, bringing conversations on sustainability beyond the classroom. NUA’s programme extends across Norwich through partnerships with organisations including Norwich Castle Museum, John Lewis Norwich, New-U and NANSA, thus creating a model in which many facets can contribute to the same sustainability agenda.

For a university, the value behind this lies not only in exposing students to the national conversation, but in giving them opportunities to apply their skills in public and commercial-facing environments.

From education to participation

The Norwich programme has been designed to make sustainability participatory and accessible. Events include natural dyeing, visible mending, upcycling, weaving, clothes swapping and repair, alongside exhibitions of student work and talks from alumni and industry figures. “From talks, exhibitions and workshops to repair, upcycling and community-focused activities, we’re creating opportunities for people to learn new skills, exchange ideas and take part in conversations around fashion and sustainability,” Dobson said.

Beyond the university, student work is also being displayed at John Lewis Norwich, while workshops with New-U introduce repair, upcycling and reuse to the wider public. Norwich Castle Museum, meanwhile, is hosting sessions exploring textile history, while the university is also hosting a keynote lecture from Carry Somers, co-founder of Fashion Revolution. This wider engagement is imperative to NUA, as the need for consumers and communities to understand available alternatives rises.

The theme of this year’s Sustainable Fashion Week, which describes itself as community-led, is Threads of Resistance, encouraging participants to resist overconsumption and embrace repairing, repurposing and rewearing clothing. The university has the opportunity to connect its educational foundations with practical changes in behaviour.

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A visible mending workshop, for example, provides participants with skills they can take home and use. The same applies to the clothes swap and New-U’s pre-loved activities, which demonstrate alternative models to buying new. Meanwhile, natural dyeing and upcycling workshops connect material experimentation with the broader question of how fashion products can be created and used differently.

“The broader mission of Sustainable Fashion Week is to challenge the systems and habits that have shaped fashion for decades, while empowering people to imagine and create alternatives,” Dobson said. “This year’s theme, Threads of Resistance, encourages exactly that kind of critical thinking and creative action.”

Preparing the next generation

For NUA, however, the educational component remains at the core. The university’s BA Fashion and BA Textile Design courses are contributing student work, research and collaborative projects to the programme, giving students a public platform for exploring sustainable approaches to design.

That is increasingly relevant as sustainability shifts from being a specialist area within fashion education towards becoming a core consideration across design, manufacturing, retail and communications. “Educational institutions play a vital role in this mission because they provide a space where ideas can be tested, questioned and developed,” Dobson added.

She continued: “By involving students in Sustainable Fashion Week, we’re helping future designers, communicators and industry leaders understand that sustainability is not an add-on to creative practice, but an essential part of shaping a fashion industry that is more responsible, inclusive and resilient.”

An associated alumni programme then highlights an employability focus, with sessions of freelancing, creative careers and adapting skills sitting alongside sustainability-focused activity, emphasising that in order to ensure a broader transition towards a more responsible industry, there is a need for practitioners capable of navigating new commercial models.

Connecting Norwich to the wider industry

The decision to host a Sustainable Fashion Week reflects Norwich’s own textile and creative heritage. Dobson noted: “Norwich has a rich history of textiles, making it the ideal location for a Sustainable Fashion Week hub. By bringing together education, industry and community, we’re creating a platform for ideas, action and collaboration that can help shape a more sustainable future for fashion.”

By hosting a city-wide programme, the organisation is allowing that heritage to be perceived through a contemporary lens, positioning sustainable fashion among retail, museums, community organisations, creative careers and university research. The model also gives emerging talent an understanding of where their creative work can sit within the wider fashion ecosystem.

Why it matters for fashion

The involvement of institutions such as NUA suggests a broader shift in how the industry’ sustainability challenge is being approached. While education may not be able to solely solve fashion’s environmental and social problems, it can influence the people and ideas that shape the industry’s future. It can also serve as a bridge between sectors that may not always interact, giving young talent and creative experimentation access to retailers, cultural organisations and community groups.

For Sustainable Fashion Week, Norwich Hub is therefore more than just a regional programme of events. It also provides a platform for connecting national sustainability discussions with local expertise and participation. “The broader mission of Sustainable Fashion Week is to challenge the systems and habits that have shaped fashion for decades, while empowering people to imagine and create alternatives,” Dobson said.

NUA’s emphasis is not only on teaching students how to make fashion more sustainable. It also looks towards the creation of an environment in which students and the wider public can collectively question how the industry currently operates. The university exists as a practical example of how educational institutions can contribute to that process and progress, putting sustainability into practice and using creative education as a means of testing what an alternate fashion system could look like.

On 1 October 2026, students from 11 European fashion institutions will present their work at the FashionTEX Digital Fashion Show in Riga, Latvia. Hosted at the LED Unit Virtual Production Studio during the second annual FashionTEX Festival, the event highlights student projects that integrate physical garments with 3D design, animation, and virtual environments. The platform demonstrates how emerging creators are using digital toolkits across both garment construction and runway presentation.

The show uses real-time virtual production technology, utilizing LED volume walls and tracking systems commonly found in film production. By staging physical garments within digitally rendered environments, the initiative explores hybrid presentation models that minimize traditional runway logistics and physical sample production. Participating students demonstrate technical capabilities across digital textile simulation, 3D prototyping, and visual storytelling.

The project highlights an ongoing shift in fashion academia toward embedding technological skills into core curricula. By teaching 3D design alongside traditional garment construction, higher education institutions are responding to industry demand for digital prototyping, supply chain efficiency, and reduced material waste. FashionTEX provides a model for how academic institutions can align student training with the evolving technical demands of the fashion industry.

The Portuguese Footwear, Components, Leather Goods and Alternatives Association (APICCAPS) has extended its strategic partnership with London College of Fashion (LCF) into a second consecutive year. Embedded directly within LCF's BA (Hons) Cordwainers Footwear curriculum, the recurring initiative connects design students directly with Portuguese footwear manufacturers to develop market-ready, sustainable footwear concepts.

Throughout the multi-stage project, LCF students work alongside technical experts, component suppliers, and regional footwear manufacturers in Portugal to turn conceptual designs into working prototypes. The program incorporates specialized industry workshops—featuring established designers such as Bianca Saunders—and places a heavy operational focus on material traceability, waste reduction, and circular manufacturing methods aligned with Portugal's national Bioshoes4all sustainability framework.

For academic institutions, recurring industrial partnerships of this scale bridge the gap between speculative design education and supply-chain realities. By granting students direct access to commercial manufacturing infrastructure and technical expertise, the program enhances institutional curriculum relevance and equips graduates with essential knowledge in sustainable design, product development, and global trade operations.

The Manchester Fashion Institute at Manchester Metropolitan University has opened its 2026 MA Fashion Design Technology exhibition, running from September 29 to October 4 at the Righton Building in Manchester. Titled "The Human Behind the System," the showcase frames creative innovation through portraits of graduating designers alongside their physical garments, digital archives, and platform concepts.

Art directed by Matthew Miller and photographed by Richard Kelly, the exhibition emphasizes human agency, personal history, and ethical judgement as fundamental counterweights to the fashion industry's rapid adoption of automated technologies and artificial intelligence.

The cohort presents a diverse range of design methodologies that directly address pressing structural and cultural challenges within the global fashion ecosystem. Projects span Eileen Garcia’s modular accessories framework that balances craft preservation with digital fabrication, Alejandro Barroso Codes’s exploration of masculinity and trauma through heavy construction, and Michelle McKim’s inclusive design methodology developed alongside disabled communities via the Spoonie Society concept.

Other emerging designers examine digital engagement and cultural memory: Elpitha Toulios introduces a sensory-driven fashion discovery platform, Lucas van Schaardenburg utilizes interactive 3D digital archiving to democratize historical garment collections, and Yuvaneswari Kartigueyane bridges traditional Indian block printing with digital design techniques.

academic research and prototype development

By positioning academic research and prototype development as rigorous tools of enquiry, the exhibition underscores the evolving role of postgraduate fashion education in equipping students for a technology-driven market. Rather than treating technical capabilities as end goals, the curriculum highlights how critical thinking, material accountability, and lived experience are necessary to govern tools like AI and digital modeling.

This focus on balancing systemic efficiency with human-centered intent reflects a broader shift toward training fashion graduates who can deliver both ethical leadership and commercially viable, inclusive design solutions.

Interview

When Laura Weir took over the helm of the British Fashion Council (BFC) last year, the organisation was battling somewhat of an identity crisis. With established designers slowly moving to Paris and Milan and the broader fashion industry facing financial pressures, questions over London Fashion Week’s relevance, impact and status became prevalent. For Weir, there is a possible solution, but it lies beyond the confines of a central fashion hub.

For the SS27 season, the BFC introduced Fashion Britain, a new initiative that sought to more evenly spread geographical representation of fashion, bringing what the council said was around 1,000 events to six cities across the UK. Through panel talks, shows and experiences, the programme’s aim is to not only enable broader involvement but promote fashion as a viable industry for individuals living beyond London to enter and navigate.

One of the cities chosen to host was Newcastle Upon Tyne. Often referred to as the regional capital of the North East of England, the city’s history is largely rooted in coal mining and shipbuilding. However, part of its early industrial development was bolstered by wool and cloth production. Nowadays, young design talent floods out of local educational institutions, with their potential already evident before the graduate cap adorns their heads.

Newcastle’s creative identity takes to Grainger Market runway

An example came to the forefront over the weekend in a show held at Grainger Market. Here, the historic central arcade, typically a space for cafes and market stalls, was transformed into a runway. The event was split into two parts – a showcase for the collections of ‘Future Heritage’ finalists and the latest line of homegrown label, Jerry J – each encapsulating Newcastle’s spirit, which featured prominently throughout, whether in textile cityscapes or pieces adorned with local catchphrases, such as ‘shy bairns get nowt’.

‘Future Heritage’ kicked off the event. In a broad sense, the initiative, introduced by Newcastle shopping centre Eldon Square earlier this year, is seeking to accelerate long-term investment performance and push for sector-defining asset transformation. Yet the core of the programme is a partnership with Newcastle College and department store retailer Fenwick, another born-and-bred Newcastle retailer. Through the initiative, Eldon Square had tasked students of the college to produce designs celebrating the city’s heritage, with three ultimately selected to show their collections during the BFC event.

The winner, Ellie McInerney, and runners up, Rose Henson and Riley Richards, were the chosen students out of 80 applicants, and each showed pieces that were as colourful as they were artistic. The setup of Future Heritage, which forms part of Eldon’s 50th anniversary celebrations, intends to provide a wealth of opportunity for young students experiencing the industry for the first time, having specifically tasked them with an industry-facing brief and the subsequent foundational exposure. The three that came out on top will also sell a limited range of their collections in Fenwick over the Christmas period.

For Fenwick Newcastle store director Kieran McBride, the department store’s involvement was a natural extension of its long-standing relationship with the city. “Fenwick has been part of Newcastle for almost 145 years, so supporting the city and celebrating the creativity that exists here is incredibly important to us. Fashion has always been central to what we do, and Future Heritage brought together so many things we care about – fashion, emerging talent, our city’s heritage and creating opportunities for the next generation,” McBride told FashionUnited.

That relationship also places Fenwick in a position to connect Newcastle’s emerging creative talent with a wider fashion industry. “Being part of Fashion Britain also gives Newcastle’s creative community a national platform. There is an incredible amount of talent in the North East and, as one of the city’s major retailers, we see an important role for Fenwick in helping to champion that talent, connect people and create opportunities for creativity to be seen and celebrated,” he added.

“Newcastle has always had a strong creative identity, and we wanted to give emerging talent a meaningful platform to celebrate the city, its heritage and its exciting fashion future,” Helen Cowie, centre director of Eldon Square, told FashionUnited.

The presence of Jerry J Clothing, the brand founded by Gambian-born, Newcastle College University Centre alumni Lamin Gibba, served as an example of what could emerge when a young designer gets the necessary support. Gibbe founded his label back in 2016 after receiving backing from The Prince’s Trust – now The King’s Trust. His latest collection, which was unveiled following the Future Heritage runway, merged his African roots with signature Newcastle codes, with pieces sent down the runway to the tune of a live band performing African music.

As a whole, the fervour around the show was palpable. While relatively small in scale compared to the more pronounced runways of London, the vast support that had descended on Grainger Market suggested a hunger for similar events from an audience willing to get involved. It was therefore apt that Jon Ridley, Newcastle College’s president, confirmed during his closing speech that cooperating between the BFC, Eldon Square and Fenwick was to continue beyond the event, though what shape that will take is yet to be seen.

The value of that cooperation extends beyond giving students a moment in the spotlight for Fenwick. McBride said the relationship between retailers and emerging designers can provide both sides with access, a facet that is increasingly important as regional fashion ecosystems develop. “For emerging designers, access to established retailers and the wider industry can provide invaluable experience, exposure and insight into how creativity translates into a commercial environment. But the benefit absolutely works both ways,” he said.

McBride continued: “Retailers need new perspectives and new ideas. Working directly with emerging talent gives us exposure to different ways of thinking and to the cultural influences shaping the next generation of our customers. Future Heritage is a great example of what can happen when retail and education work together – students gain a genuine industry platform, while we get to engage with and learn from some of the most exciting young creative talent in our region.”

The role of regional shopping destinations in supporting next gen talent

For Eldon, the launch of Future Heritage forms part of a wider transformation and retail strategy that Cowie said “is all about creating a destination that feels truly connected to its place and its community”. Mirroring similar strategies undertaken by shopping centres across the UK, many striving to provide customers with a plethora of experiences, Eldon has sought to bring together fashion, culture, education and commerce to give people another reason to visit the centre, with Future Heritage playing a key role in that.

“The best physical destinations give people something to experience, not simply somewhere to shop. A project like Future Heritage gives customers a reason to pause and feel part of what is happening in their city – weaving Eldon Square into the fabric of the city,” Cowie noted. “When fashion is brought to life through creativity, talent and real stories, it complements the retail offer brilliantly and opens the door for a new wave of designers. It makes a trip to Eldon Square feel like part of a wider day out in the city, rather than just another shopping trip.”

The event was evidence of how imperative it is for retail networks to also be involved and uplift these initiatives, particularly in providing designers with commercial-backing. But they also need support. By introducing Fashion Britain, the BFC is recognising not only local talent but also these regional networks, giving them a much needed boost amid a period in which major retail destinations amp up efforts to cater to customers beyond retail alone, making the council’s support detrimental.

Cowie said Newcastle being selected as a host city by the BFC was an “opportunity to place Newcastle’s creativity within a wider national fashion conversation” and amplify its originality to a broader national stage. “There is a real opportunity for regional retail destinations to play a bigger role in supporting the next generation of creative talent. We have the spaces, audiences and partnerships to give young people practical experience and a connection to the industries they want to work in,” she added.

This regional role is also central to what a more decentralised British fashion industry could look like in practice. McBride commented: “British fashion has never only existed in London. Every region has its own identity, culture and creative community, and those differences are part of what makes British fashion so interesting."

He added: “Regional retailers can provide the local knowledge, customer relationships, physical spaces and industry connections that help turn creative talent into real opportunity. For Fenwick, there is also a real benefit in being part of a more connected national fashion community while helping ensure Newcastle and the North East have a strong voice within it. We want talented people to see that they can build careers, make connections and find opportunities here, rather than feeling they have to leave the region to succeed.”

It is exactly this that the BFC is striving for. When introducing Fashion Britain, the council’s CEO Laura Weir underlined a mission to decentralise the UK’s fashion industry, stating: “Too often, fashion has been a London-centric story. We must now decentralise in so many ways. We must recognise excellence across the UK and make our industry more accessible.”

Discussions over what decentralisation would or should look like continued into a panel talk held at contemporary art gallery Baltic following the Future Heritage show. Here, Newcastle-born designer Genevive Devine, Re:Bourn founder Sophie Cabourn, and Barbour team members spoke as part of the BFC’s Fashion Britain panel series. During the talk, the group spoke of Newcastle’s unique persona, both in the people that live there and the design talent that emerges. They highlighted the importance of local universities like Northumbria, where Devine graduated before moving to Central Saint Martins to do an MA, and work placement initiatives, like Barbour’s Early Careers.

Collectively, however, it was clear there was still a pressing need for funding and more foundational support frameworks. But the BFC presence all the way up North could be a sign of things shifting. “Future Heritage is a strong example of what can happen when that support is collaborative. Newcastle College students were able to respond to a live brief, engage with industry expertise and see their work shared with the public,” Cowie stated.

As a judge on the Future Heritage panel, McBride also saw that potential first-hand. What stood out, he said, was “the individuality of the work and the different ways the students interpreted Newcastle and its heritage”. “They were given the same broad starting point, but the creativity, confidence and originality in the responses were incredibly varied,” he continued. “Seeing the work first-hand reinforced just how much creative talent we have here in the North East. It also reinforced the role businesses like Fenwick can play.”

That role doesn't necessarily require retailers to have all the answers. Instead, it calls on them to use the resources already available to them. “It isn't necessarily about having all the answers; sometimes the most valuable thing we can provide is access – to our people, our spaces, our customers and our wider network,” McBride said. “If we can use those things to give emerging talent greater visibility and meaningful experience of the industry, that's something we're very keen to continue.”

Cowie echoed the need for this kind of continued collaboration. She continued: “Looking ahead, I would like to see more opportunities that bring creative education, retailers, cultural organisations and local businesses together. The North East has extraordinary talent, and by creating more routes for people to be seen, celebrated and connected, we can help turn that talent into long-term creative careers.”

The question now is what happens after the runway. Fashion Britain has demonstrated that there is an appetite for fashion beyond London, but decentralisation will only have lasting value if the infrastructure around emerging talent develops alongside it. That means creating clearer routes from education into industry, ensuring retailers and cultural institutions continue to provide commercial platforms, and giving designers the funding, networks and manufacturing support needed to build careers where they are.

Newcastle’s weekend of activity offered a glimpse of what that ecosystem could look like when education, retail, culture and industry align. The challenge for the BFC, and for the regional partners now being brought into its wider vision, is to ensure that the momentum does not leave with fashion week.

A new report published by the University of Oxford’s Smith School of Enterprise and the Environment, in partnership with DIRT Charity, reveals that the fashion industry influences approximately 30 percent of global agricultural land. By expanding traditional assessments—which previously focused solely on textile crops like cotton, flax, and hemp—to include animal-derived materials such as leather and wool, researchers estimate the sector’s reach at 1.45 billion hectares.

The findings suggest that fashion's direct influence over global land management has been systematically underestimated, framing brand procurement decisions as a critical lever for agricultural and environmental policy.

The report emphasizes that a material's environmental footprint is determined primarily by farming practices and energy inputs rather than fibre category alone. Across life cycle assessments, single-material categories demonstrated extreme variance in greenhouse gas emissions. For instance, emissions for bovine leather ranged from 8.5 to 151.9 kg CO2e per square metre, while wood-derived viscose displayed a fortyfold spread depending on processing energy sources.

The analysis also evaluated next-generation alternatives, showing that one mycelium leather produced on a clean grid yielded 2.76 kg CO2e per square metre, whereas another produced using a coal-heavy energy grid reached 57.15 kg CO2e, outpolluting conventional leather. The release of the report comes as the European Union prepares to enforce the Empowering Consumers for the Green Transition Directive, which restricts generic environmental claims and mandates independent certification for sustainability labels.

For fashion educators and academic leadership, the Oxford report highlights a critical shift in the skills and knowledge required for the next generation of industry professionals. Current curricula often rely on simplified fibre classifications, whereas these findings demonstrate the necessity of integrating agricultural science, life-cycle analysis, and supply chain accountability into design and management programs.

As regulatory frameworks like the EU directive eliminate superficial sustainability marketing, academic institutions must adapt to train students in rigorous verification standards, biodynamic farming impacts, and end-to-end processing transparency. Bridging the gap between agricultural realities and supply chain management will be essential for future fashion practitioners seeking to navigate emerging compliance mandates and execute meaningful environmental strategy.

Students representing India’s National Institute of Fashion Technology (NIFT) have received recognition in the fashion-related categories at WorldSkills Shanghai 2026, as part of India’s largest-ever delegation to the international skills competition.

Vidhi Niravkumar Suthar received a Medal for Excellence in Fashion Technology, one of 20 such awards won by Indian competitors across technical, creative and service disciplines. India also secured six Silver Medals, although none were awarded in Fashion Technology.

The Shanghai competition brought together more than 1,400 competitors from around 70 countries and regions from September 22–27. India sent 70 competitors across 63 skills, including Fashion Technology, Visual Merchandising and other creative disciplines.

The result highlights the role of international skills competitions in benchmarking fashion students against professional standards. WorldSkills describes its competitions as a platform for developing technical proficiency, innovation, precision and craftsmanship, while also exposing participants to international practices and evolving industry requirements.

For fashion educators, the Fashion Technology result also points to the growing importance of practical, industry-oriented skills alongside conventional academic and creative training.

Birmingham City University presented the work of 13 fashion students and graduates at Somerset House during London Fashion Week on September 17. The institution stood as the sole higher education establishment to host a dedicated exhibition on the official schedule this season, marking its second consecutive appearance at the event.

Higher education institutions specializing in fashion management are under increasing pressure to reform their team-based pedagogical models to align with modern corporate environments.

While academic curricula consistently emphasize technical merchandising, design, and supply chain strategy, traditional group work often relies on self-selected team structures that allow students to remain within familiar social circles. Experts argue that this setup fails to prepare graduates for the cross-functional, multi-geographic, and non-negotiable team dynamics that define the global fashion supply chain.

Modern fashion enterprises rely on highly interconnected operations where creative, commercial, and technical teams must deliver results despite differing departmental priorities. Sourcing managers, visual merchandisers, financial planners, and external suppliers rarely operate based on personal preference or social proximity, but rather through assigned operational mandates.

When business schools rely exclusively on student-formed groups, they inadvertently insulate emerging professionals from essential workplace friction, such as navigating varied communication styles, resolving interdepartmental conflicts, and managing workload distribution across diverse skill sets.

To bridge this operational gap, academic leaders are encouraging a structural shift toward faculty-managed, skill-balanced, and randomized group allocations in core management modules. Implementing impartial team allocation, contribution tracking mechanisms, and peer evaluation processes allows institutions to simulate real-world cross-functional environments more accurately.

For fashion management programs, refining team formation strategies directly enhances graduate employability by developing critical negotiation, accountability, and adaptive leadership competencies essential for navigating complex global retail operations.

Miraculous Corp, the joint venture between Mediawan and ZAG, has announced a global fashion and design strategy anchored by an initial partnership with ESMOD Paris. Under the agreement, which was supported by TF1 Licensing, second-year Fashion Design students at the Paris institution will engage in a curriculum-integrated design challenge starting this fall. The initiative leverages the global reach of the Miraculous entertainment brand to create academic and practical opportunities for emerging fashion design talent.

The design challenge integrates directly into ESMOD’s Stylist degree program, requiring students to explore collection design through creative research, pattern making, textile exploration, and garment construction, alongside 2D and 3D digital design tools. Students will reinterpret the visual identity and storytelling elements of the Miraculous universe—inspired by lead character Marinette Dupain-Cheng’s fictional ambition as a Paris-based designer—through a high-end fashion perspective. Miraculous Corp plans to expand this strategic focus across educational partnerships, brand collaborations, exhibitions, and digital space extensions.

This collaboration illustrates the growing integration between entertainment intellectual property and fashion higher education. For ESMOD Paris, founded in 1841, embedding commercial IP into its academic framework provides students with real-world design constraints and industry-aligned experience. Simultaneously, the partnership provides Miraculous Corp a strategic entry point into the global fashion market, transforming media franchise licensing into an educational and brand-building platform.

US-based educational institution the Fashion Institute of Technology (FIT), part of the State University of New York (SUNY), has announced new public programming under FIT Future//Forward. The strategic initiative, launched by FIT president Jason Schupbach, aims to establish the college as a primary laboratory for creative and creative business careers.

Titled ‘FIT Future//Forward Conversations’, the series brings together international voices shaping the creative industries. The discussions will examine ideas and innovations defining creation, work, and leadership amid shifts across fashion, design, business, technology, and culture.

“The launch of ‘FIT Future//Forward Conversations’ marks a thrilling next step in how FIT collaborates with the fashion industry and beyond,” said Schupbach. “These discussions will shine a light on the boldest ideas driving this era of change. From AI and sustainability to evolving consumer markets, we are bringing together the visionaries on the front lines because creative thinkers hold the key to shaping what’s next.”

The programming will be presented in two distinct formats, both of which are free and open to the public. The Presidential Speaker Series hosts chief executive officers, presidents, and business leaders in conversation with Schupbach. Meanwhile, the Innovation Speaker Series features journalists and thought leaders in conversation with designers and creators.

Registration is currently open for six initial events taking place in the Bob Fisch Presentation Hall inside the Joyce F. Brown Academic Building at FIT:

• October 5, 2026: Felita Harris, executive director and co-founder of US non-profit RAISEfashion and author of ‘The Designer’s Path’, in conversation with Schupbach
• October 12, 2026: Ronnen Harary, co-founder of Canadian toy and entertainment business Spin Master and co-creator of ‘PAW Patrol’, in conversation with Schupbach
• October 19, 2026: Chloe Malle, head of editorial content at US publication Vogue, in conversation with Sally Singer, president of US creative agency Art + Commerce
• October 20, 2026: Ewa Abrams, president of US division Kering Americas, in conversation with Schupbach
• November 3, 2026: Tanner Richie and Fletcher Kasell, designers and co-founders of US brand Tanner Fletcher, in conversation with Fern Mallis, author and co-creator of New York Fashion Week
• December 2, 2026: Matthieu Befve, head of fine fragrance at Swiss fragrance company Givaudan, in conversation with Schupbach

Dates will be announced shortly for further events featuring additional industry figures. These include Vanessa Friedman, fashion director and chief fashion critic at US newspaper The New York Times; Corey Damen Jenkins, interior designer, CEO, and principal at US design firm Corey Damen Jenkins & Associates; Dylan Kelly, social media influencer and journalist; Emily Sundberg, creator of the ‘Feed Me’ newsletter and FIT alumna; and Edvin Thompson, designer, founder, and creative director of US label Theophilio.

For industry professionals unable to attend the physical events in New York, proceedings will be livestreamed, with recordings made available post-event.

In Paris, the fashion school Istituto Marangoni is launching a new programme aimed at transforming its students into the pioneering fashion entrepreneurs of tomorrow. To establish this intensive programme, the institution announced a partnership on September 17 with Plug and Play, an innovation platform based in Silicon Valley focused on artificial intelligence.

Running from August to September 2026 at the school's Paris campus and at Station F, the intensive programme equipped participants with the “tools needed to turn an idea into a business in 12 weeks,” as stated in the press release.

Transforming bold ideas into concrete businesses

The programme is structured around four fundamental workshops: identifying a real market opportunity; validating the business idea; building the company with the help of artificial intelligence; and presenting the project to investors. Various professionals were brought in to teach, including Flore Lestrade, CEO of Veeton. Veeton is a French start-up specialising in generative artificial intelligence, which has produced visuals of clothing worn by babies created by artificial intelligence for the brand Monoprix.

Students learn to identify gaps in the fashion, retail and technology sectors. They then design a minimum viable product before developing the technical side. Artificial intelligence is used to develop the brand file, business model and go-to-market strategy. The process concludes with a final presentation to a panel of experts.

“At Istituto Marangoni Paris, our mission is to nurture creative talent and help transform it into tangible opportunities,” explained Valérie Berdah-Levy, director of operations for France and the UK at Istituto Marangoni, in a statement. “In collaboration with Plug and Play, we are empowering the next generation of innovators in the fashion, luxury and beauty sectors to turn bold ideas into concrete businesses and help shape the future of the creative world.”

For Thomas Bigagli, a partner at Plug and Play, “the founders who will define the creative and consumer industries over the next decade are currently sitting in classrooms”. He added that this programme is just the first chapter in a longer-term collaboration.

The collaboration between the two entities will continue during the Beauty Lab event, scheduled for November 4, 2026, at Istituto Marangoni Paris.

Jewellery combining naturally dyed fish scales and golden grass alongside a modular lighting system made from bamboo have taken top honours at the Only Natural Student Design Competition 2026.

UK-based Central Saint Martins student Ana Luisa Braun Rodrigues was named overall fashion winner for her Shimmer Jewellery collection, while India-based National Institute of Design student Tanmay Bhavsar took the overall home title with Valay - Bamboo Lighting. Rodrigues and Bhavsar were selected from seven category and people’s choice winners. The awards were presented on September 15, 2026 during a ceremony at Material Matters London, attended by more than 200 industry figures, designers and educators.

Driving natural material adoption

Only Natural brings together six US natural material trade groups representing more than six billion dollars annually in exports. The alliance aims to encourage emerging designers to prioritize natural components in future product development.

The 2026 competition attracted more than 380 entries, with shortlisted candidates representing 27 universities across 15 countries. Utilised materials included cowhide, vegetable-tanned leather, wool, bamboo, wood, cotton, golden grass and fish scales. By connecting young designers with established supply chains, the initiative seeks to promote sustainable choices during early design stages.

Full line-up of winners

Rodrigues' winning fashion entry used Capim Dourado, naturally dyed Camurupim fish scales, sterling silver and crystal to explore Brazilian identity. Bhavsar’s home lighting solution utilized the natural variations of bamboo into modular design elements.

The full line-up of category winners includes:

• Fashion apparel: Israel-based Shenkar College of Engineering, Design and Art student Eden Cohen for La Fenaison
• Fashion accessories: Rodrigues for Shimmer Jewellery
• Fashion footwear: Jerusalem-based Bezalel Academy of Arts and Design student Islam Nashef for Macho
• Home furniture: UK-based University of the Arts London student Sofia Hollier for Field to Form
• Home interiors: Bhavsar for Valay - Bamboo Lighting
• People’s choice fashion: Israel-based Shenkar College of Engineering, Design and Art student Ofir Vissel for A Thought That Remains Awake
• People’s choice home: India-based National Institute of Design student Kavish Lineswala for Alankara

Industry commentary

The awards were hosted by Material Matters co-founder Grant Gibson and Leather & Hide Council of America (LHCA) representative Amanda Symm.

“The imagination, dedication and craftsmanship we saw in this year’s entries show that natural materials aren’t simply viable - they can inspire extraordinary design,” said Gibson.

Symm added: “Only Natural brings together six US natural material industries because we share a belief that the designers beginning their careers today will help shape the materials used tomorrow. These industries already have the expertise, networks and supply chains to deliver natural materials at scale.”

All seven winning projects were displayed at Unlocked Shoreditch during the London Design Festival. Only Natural is supported by the American Hardwood Export Council, American Softwoods, American Wool Council, Mohair Council of America, National Industrial Hemp Council and LHCA. The competition will return for its next edition in 2027.

After a highly competitive selection process, MA student Ava Shannon completed the Condé Nast Fellowship with the British Vogue team, gaining firsthand experience supporting the magazine's iconic fashion cupboard, contributing to content across platforms, and helping to deliver major fashion events. In this reflection, she shares what she learned working behind-the-scenes at one of the world's most influential fashion titles alongside industry-leading professionals. Often, when you ask a fashion student about their career goals, the world’s largest fashion media company makes its way into the conversation: Vogue. As an MA Fashion Communications student, I wasn’t any different. The Condé Nast Fellowship at British Vogue was an opportunity I couldn’t let slip.

The fellowship consisted of a two-month placement alongside the British Vogue editorial team in London. The application process consisted of two stages. The initial stage required a CV and portfolio submission, and if you were successful, you would be invited to interview in the second stage.

The fellowship involved assisting with organizing the fashion closet, coordinating garments for editorial shoots, supporting fashion content production, and helping deliver major Vogue fashion events.

At the beginning of this year, the Head of Careers at Vogue College of Fashion, Zoe Souter, introduced us to an exciting opportunity: a highly competitive fellowship with the British Vogue fashion editorial team, available to one student for the first time ever. Any fashion lover’s dream!

I remember thinking how incredible it would be for whoever was selected, never imagining it could be me. After hearing about the opportunity, I submitted my application and portfolio and immersed myself in researching everything about British Vogue, the editorial team, and the role itself.

Weeks later, I was shocked and ecstatic to receive an invitation to interview. Before my interview, I had completed my research, sought advice from people in the fashion industry, and clarified my goals.

The interview could not have gone any better. I got to speak about fashion—something I love so much—with the Senior Editorial Operations Manager and the Fashion Market Editor at British Vogue. Just a few days later, I received the news that I had been selected as the first-ever Vogue College of Fashion Fellow at British Vogue. To say I was excited and grateful would be an understatement.

Although I was nervous on my first day walking into Condé Nast’s London headquarters, the Adelphi Building, I was filled with excitement. Meeting the British Vogue team and working alongside people I had admired for years was surreal, and it made me even more enthusiastic about the experience.

From day one, I was immersed in the role of a fashion fellow. What I really loved was that no two days were ever the same. For example, I helped prepare runway pieces in the fashion closet, coordinated accessories for major events, including the Met Gala, and assisted on editorial shoots. It was so surreal!

I also had the opportunity to speak with British Vogue‘s Editor-in-Chief, Chioma Nnadi, and Global Operations Director, Louisa Parker Bowles, whose advice on building a career in fashion was incredibly insightful and will stay with me throughout my career.

One of the most interesting parts of my fellowship was seeing how different departments collaborated to produce each issue. My favorite experience was working in the fashion closet and attending a shoot, where I gained firsthand insight into bringing a British Vogue issue to life.

Reflecting on my fellowship, it truly inspired me and reassured me that I belong in the fashion industry. My fellowship has opened up a new world of contacts that will be extremely valuable as I pursue my career after completing my master’s degree. It has also opened my eyes to careers I was previously unaware of.

I discovered a passion for styling and fashion editorial writing, both of which I hope to pursue someday. The application process made me more aware of what future employers are looking for and what it takes to succeed in the fashion industry.

More importantly, it made me extremely grateful to have Vogue College of Fashion behind me. From the advice I receive from people like Zoe Souter to the connections the College has helped me build, I will always be grateful for the opportunity it provided.

Explore graduate programs at Vogue College of Fashion

Brazilian designer Ana Luisa Braun Rodrigues and India’s Tanmay Bhavsar have been awarded the overall fashion and home honors at the Only Natural Student Design Competition 2026. The winners were announced on September 15 during an awards presentation at Material Matters London in Shoreditch. Selected from more than 380 entries representing 27 universities across 15 countries, Rodrigues received the fashion title for her Shimmer Jewellery collection, while Bhavsar earned the home title for his VALAY bamboo lighting concept.

Rodrigues’ collection combines naturally dyed Camurupim fish scales with Brazilian Capim Dourado grass, sterling silver, and crystal to explore regional artisanal techniques within modern accessory design. In the interior sector, Bhavsar’s modular lighting design incorporates the natural structural variations of bamboo to address manufacturing consistency. Additional category winners produced work utilizing cowhide, vegetable-tanned leather, wool, cotton, and wood, reflecting a broad exploration of bio-based inputs in early-stage product development.

The competition is backed by a coalition of six U.S. natural material trade associations, including the Leather & Hide Council of America, the American Hardwood Export Council, American Softwoods, the American Wool Council, the Mohair Council of America, and the National Industrial Hemp Council. Together, these organization interests represent over $6 billion in annual raw material exports. The initiative aims to connect emerging design talent directly with established commercial supply chains and material expertise.

For higher education institutions, the competition highlights the role of material literacy and supply chain integration within contemporary design curricula. As sustainability standards expand from theoretical frameworks into commercial requirements, early engagement with raw material sourcing prepares students for industrial production constraints. The involvement of primary material export bodies indicates a continued industry focus on influencing material selection during the foundational stages of educational design training.

The UK government has announced a £3 million funding extension for the British Fashion Council’s (BFC) NEWGEN initiative, committing £1 million annually across the 2026/27, 2027/28, and 2028/29 program cycles. Administered in partnership with the Department for Digital, Culture, Media and Sport (DCMS) since 2023, the multi-year pledge guarantees financial grants, tailored business mentoring, and showcase slots at London Fashion Week for emerging British design talent. To mark the announcement, Creative Industries Minister Ian Murray joined BFC Chief Executive Laura Weir at a presentation by Jamaican-born designer Francesca Lake, one of sixteen recipients selected for the 2026/27 cohort.

Established in 1993, BFC NEWGEN has served as a key talent incubator for more than 400 British labels, including Alexander McQueen, Jonathan Anderson, and Simone Rocha. Beyond direct financial bursaries allocated across two LFW seasons per year, selected designers receive dedicated show production resources valued at approximately £80,000 per recipient, pro-bono legal counsel, business diagnostic assessments, and international sales exposure through the LONDON show ROOMS platform in Paris. The upcoming 2026/27 recipient cohort includes labels such as Charlie Constantinou, Johanna Parv, Karoline Vitto, and Yaku, reflecting a focus on diverse cultural narratives and technical innovation.

The extension of state funding provides vital structural support at a time when early-stage fashion ventures face elevated supply chain costs and commercial headwinds. By helping bridge the transition from higher fashion education to commercial enterprise, NEWGEN reinforces the broader talent pipeline for UK design graduates. For fashion education institutions and academic leaders, sustained public investment underscores the importance of integrating business strategy, sustainability metrics, and export readiness into undergraduate curricula, ensuring emerging designers build scalable, resilient brands within the global fashion ecosystem.

Istituto Marangoni Milano presented DYSFLEXION, its annual graduate fashion show for the 2025/2026 academic year, hosting the event at its new Palazzo Turati campus in Milan. The runway featured collections from ten top graduates selected from a pool of over 200 third-year students in the institution's Fashion Design & Accessories undergraduate program.

Centered on fluid identity and structural transformation, the showcase presented work evaluated by a technical jury of industry professionals, including creative directors, buyers, and talent scouts such as Marco Rambaldi, Galib Gassanoff, and Satoshi Kuwata.

The selected collections demonstrated a focus on material experimentation, deconstruction, and technical craftsmanship. Student designs ranged from Alessandro Bonasi's exploration of torsions and genderless drapery to Ziming Quan's combination of sixties futurism and origami, alongside Sara Madella's deconstructivist approach to ready-made objects.

To complement the physical show, the school introduced CODEX, an editorial project providing photographic analysis of the design processes behind each collection. The event also integrated major supply chain and industrial partners, including leather developer Bonaudo, Amal Embroideries, Great Lengths, and L'Oréal Italia.

30 finalists

The selection structure, which filtered 200 candidates down to 30 finalists and ultimately 10 runway presenters, reflects standard industry practices within fashion education curricula. Direct collaboration with specialized textile manufacturers and global beauty groups provides graduating students with hands-on exposure to production and presentation standards required by commercial luxury brands.

Operating across ten global locations and reporting a 91 percent graduate employment rate, the institution's focus on high-visibility showcases at new physical hubs like Palazzo Turati forms part of a broader strategy to maintain curriculum relevance and institutional competitiveness in fashion education.

Design Academy Eindhoven has announced the return of its annual Graduation Show from 17 to 25 October 2026 during Dutch Design Week, appointing Martina Muzi as art director for the upcoming edition. Serving as the creative counterpart to Raf De Keninck, chair of the executive board, Muzi will oversee the presentation of final projects from more than 200 bachelor and master graduates. Hosted at the former telephone exchange building on Professor Doctor Dorgelolaan near Eindhoven Central Station in partnership with NS Vastgoed, the exhibition serves as a critical benchmark for emerging research across social design, materials, and technology.

Muzi, a graduate of the academy’s Social Design program and studio leader of Studio Technogeographies, previously led the curatorial team for the exhibition’s past three editions. In her expanded role, she works alongside head curator Ina Hollmann and curatorial team members Brogen Berwick, Léa Cadieux, and Roberta Di Cosmo to align the showcase with the institution’s evolving academic vision. The accompanying exhibition catalogue is being designed by 2023 alumni Sonia Górecka and Matteo Bettini, with lead editing by Jeannette Petrik and contextual framing provided by Nadine Botha, head of MA Social Design. Graphic designer Karin Fischnaller will develop the visual identity for the show.

Beyond serving as a platform for graduate work, the 2026 event reinforces DAE’s broader strategy of connecting academic pedagogy with commercial and professional networks. The academy is expanding its student-run design tour program for corporate visitors and design professionals, funneling a portion of tour revenues directly into the DAE Alumni Association to fund future post-graduate initiatives. By integrating alumni into the curatorial, editorial, and commercial execution of the exhibition, the institution demonstrates a structured model for long-term career support and industry integration.

As the global fashion landscape moves beyond transactional retail toward immersive, narrative-driven experiences, the framework of fashion education is evolving alongside it. In this interview, Ying Ting Cheng, Chief Operating Officer for China & APAC at Istituto Marangoni, discusses how the Shanghai campus is preparing the next generation of creative leaders through initiatives like the multi-disciplinary VIA NOMADIS showcase.

From leveraging bio-based materials like mycelium bio-leather and defining the role of AI in creative direction to bridging European luxury heritage with China's fast-moving market innovation, Cheng highlights the essential balance between technical expertise, critical judgment, and transferable aesthetic thinking needed to navigate today's industry.

How does the immersive VIA NOMADIS format reflect the school’s core educational philosophy?

VIA NOMADIS is built around the ideas of movement, exploration and self-discovery, and I think these ideas are very relevant to the way a new generation of fashion talent is developing today.

Our students are digital natives. They have immediate access to different cultures, aesthetics and creative communities around the world, and their interests increasingly move across fashion, art, technology, business and lifestyle. At the same time, access to so much information creates another challenge: how do you move beyond simply absorbing or reproducing what you see and develop an independent point of view?

For us, fashion education is therefore not only about teaching technical skills. It is about helping students develop the ability to observe, question, select and ultimately transform what they encounter into their own creative language.

That philosophy shaped VIA NOMADIS. Rather than presenting the graduate collections through a conventional runway alone, we brought together fashion design, visual communication and fashion management students to create an environment combining garments, space, moving image, light and storytelling. The students had to consider not only what they were designing, but how an audience would encounter, understand and experience it.

In that sense, the format reflects a fundamental principle of our education: students should develop strong expertise in their own discipline, while learning to understand the wider ecosystem in which fashion exists.

How is the curriculum evolving to prepare students for retail's shift toward storytelling and experiential design?

The role of physical retail is changing significantly. It is no longer simply a point of transaction. Increasingly, it is where brands communicate culture, create emotional connections and allow consumers to experience a particular world or lifestyle.

This changes the skills that fashion companies need. A designer can no longer think only about the product in isolation. From the moment a product is created to the moment it reaches the consumer, there is an entire system around it: brand positioning, visual communication, content, merchandising, spatial experience, retail and consumer engagement.

Our curriculum responds by bringing these different disciplines closer together and by using real industry scenarios as part of the learning process. We increasingly work across fashion design, visual communication and fashion business rather than keeping students within isolated professional disciplines.

VIA NOMADIS is a good example. We introduced the concepts of Immersive Retail and Editorial Retail to reproduce some of the ways contemporary brands are approaching launches and physical experiences. Fashion design students developed the product; visual communication students worked on narrative, imagery, film and the visual environment; fashion management students considered audience, commercial logic, consumer experience and retail execution.

For us, this is not simply a new way of staging a graduate show. It reflects a structural change in retail itself: stores are becoming media, displays are becoming content and products increasingly exist within a broader story and experience.

What role do digital tools and AI play in developing students' "transferable aesthetic thinking"?

Digital tools and AI are already changing the way fashion professionals work, and students need to know how to use them. But we are very clear that technology should support creative thinking rather than replace it.

AI can generate images, concepts and alternatives extremely quickly. What it cannot provide in the same way is an individual's lived experience, cultural memory, emotional sensitivity or personal point of view. These are precisely the qualities that allow a designer to create work that has meaning and can connect with another person.

So alongside digital fluency, we place a strong emphasis on critical judgement. When a tool can generate hundreds of possibilities, the important question becomes: which one matters, and why? Students need to be able to select, question and edit rather than simply accept what an algorithm produces.

This connects to what we describe as "transferable aesthetic and lifestyle thinking". We want students to develop an underlying ability to understand people, culture, visual language and experience that is not limited to designing garments. That way of thinking can be applied across fashion, retail, communication, spaces, digital experiences and other creative industries.

Tools will continue to change very quickly. The ability to think independently, to make aesthetic judgements and to understand human experience is much more transferable.

How is Istituto Marangoni Shanghai embedding sustainability and eco-innovation into its design curriculum?

We increasingly approach sustainability through practical engagement with materials and the supply chain rather than treating it only as a theoretical subject.

Sustainable materials are already incorporated into our teaching, and we also want students to have direct exposure to the companies developing the next generation of materials. This year, for example, our collaboration with SynMetabio introduced students to innovative bio-based materials, including mycelium-based bio-leather, and challenged them to explore how these materials could actually be applied within fashion design.

This is important because sustainability requires more than awareness. Designers need to understand how a new material behaves, what its possibilities and limitations are, how it changes the design process and how innovation can ultimately be translated into a viable product.

We see sustainable fashion and new-material application as an increasingly important area for the Chinese fashion industry. It is also an area where education and industry need to work very closely together, because innovation is developing rapidly. Our role is to give students access to these emerging resources and encourage them to experiment with them while they are still at school.

How does the Shanghai campus bridge European luxury heritage with East Asian market innovation?

Shanghai occupies a very particular position within Istituto Marangoni's international network. The school brings to China a European fashion education tradition grounded in craftsmanship, design methodology, brand building and the relationship between creativity and industry. At the same time, Shanghai places our students at the centre of one of the world's most dynamic fashion and consumer environments. China's role in global fashion is also changing. It is no longer only one of the world's major consumer markets; it is increasingly a testing ground for new brands, new retail models, digital innovation and new forms of consumer engagement. We are moving from a period defined largely by "Made in China" toward one in which "Designed in China" has much greater international relevance.

This creates a two-way exchange. We bring an international fashion framework and our global network into China, while the speed, creativity and market experimentation taking place here also inform the way we think about fashion education.

Our aim is not to train Chinese students simply to reproduce a European model. We want them to understand the foundations and systems that have made European fashion successful, while developing the confidence to draw on their own cultural references and the realities of the Asian market.

Ultimately, we hope to develop talent that is rooted in local culture but capable of communicating internationally — people who can translate Chinese and East Asian perspectives into a contemporary fashion language that can be understood globally.

How do industry partnerships with houses like Scabal and SynMetabio shape student opportunities?

Industry collaboration is fundamental to the way we approach fashion education because we believe students should encounter the realities of the industry before they graduate.

The collaborations with Scabal and SynMetabio during VIA NOMADIS illustrate two different but complementary dimensions of this approach. Scabal brought students into contact with the heritage, quality and material expertise of an established European textile house, while SynMetabio allowed them to experiment with innovative bio-based materials and think about how emerging material technologies can be translated into fashion applications.

These were not partnerships that existed only around the event. The materials became part of the students' creative process. Scabal supported one of Ruiyang Qin's looks with fabrics, while SynMetabio materials were used for a complete look by Ziqi Liu as well as accessories by Ruiyang Qin and Natlie Sung.

That direct interaction is valuable because students have to respond to real materials, real possibilities and real constraints. It begins to close the gap between a school project and professional practice.

Looking forward, we want to deepen this model further — moving beyond individual internship opportunities toward partnerships in which brands, designers, retailers, material innovators and supply-chain companies can participate in courses, projects, product development and commercial incubation.

What distinct creative edge sets Shanghai graduates apart from those at your European campuses?

I would not describe it as one campus being stronger than another; each city creates a different cultural and creative environment. Milan has an extraordinary foundation in craftsmanship, textiles, manufacturing and product culture. Paris has a very powerful tradition of luxury, couture and fashion storytelling, while London has historically provided an environment for experimentation, subculture and more radical creative expression.

Shanghai has its own character. It is a city where Eastern and Western influences constantly meet, but also where creativity exists alongside an extremely fast-moving commercial and digital environment.

Young designers developing here tend to be highly sensitive to new consumer behaviours, social media, new retail formats and rapidly evolving youth culture. They are accustomed to speed and to moving between different contexts. At the same time, we see increasing cultural confidence among Chinese designers. Rather than simply referencing traditional Chinese symbols, the stronger emerging designers are learning how to translate cultural memory, Eastern aesthetics and contemporary Chinese life into a language that feels relevant today.

That combination — cultural confidence, market sensitivity, speed of execution and an international outlook — gives Shanghai graduates a distinctive perspective. European fashion education provides an important foundation in systems, craft and brand logic; Shanghai adds the energy of a market that is actively inventing what comes next.

How do experiential showcases like this directly impact the group's 91% graduate employability rate?

The group's 91% graduate employment rate, reflects a much broader educational model, so I would not attribute that figure to any single showcase. But projects such as VIA NOMADIS demonstrate an important part of why we place such emphasis on industry-oriented learning.

Our philosophy has always been that education should remain closely connected to the industry. Today, companies are looking less for people with only one isolated skill and increasingly for what we call T-shaped talent: people with strong vertical expertise in their discipline but also the ability to understand users, business, digital tools and the wider creative process.

An experiential project puts those abilities under pressure in a way that a classroom assignment cannot. Students have to collaborate across disciplines, manage constraints, communicate ideas, respond to materials, consider audiences and ultimately turn a concept into something that can be experienced in the real world.

With VIA NOMADIS, students were effectively working through the different stages of a contemporary brand launch: product development, visual storytelling, spatial experience, content and retail thinking. By graduation, they therefore have not only a portfolio but experience of how their discipline operates within a larger professional system.

For us, the real measure of industry connection is whether the work, thinking and capabilities students develop at school meet — and ideally anticipate — the standards of the industry they are about to enter.

What key message do you hope industry leaders take away regarding the future of fashion education?

The most important message is that fashion education can no longer be understood simply as the teaching of a fixed set of skills. The industry is changing too quickly. AI, digital fashion, new materials, new retail models and changing consumer behaviours will continue to transform individual roles. If education focuses only on the tools required for today's job descriptions, some of those skills may already be outdated by the time students establish their careers.

What we need to develop instead is a way of thinking that can adapt: strong professional expertise combined with aesthetic judgement, critical thinking, commercial understanding, digital fluency, cross-disciplinary collaboration and the ability to understand people and culture.

I also believe the relationship between education and industry needs to become much closer. We want to move from occasional industry collaborations toward a more integrated ecosystem in which brands, designers, retailers, technology companies and material innovators participate in the educational process, while students are exposed to real challenges much earlier.

Fashion will always need creativity. But the next generation will need to understand how to connect that creativity with technology, experience, business and society. Our responsibility as educators is not simply to prepare students for the fashion industry as it exists today, but to give them the judgement and adaptability to help shape what it becomes next.

Istituto Marangoni has expanded its engagement in Saudi Arabia with a fashion and luxury masterclass in Jeddah, marking the Italian institution’s first event in the city. The session was hosted by the Consulate General of Italy at the Park Hyatt and brought together creatives, industry representatives and emerging talent.

“Decoding Luxury: from elite rarity to everyday prestige”

Led by Anna Zinola, School and Education Director at Istituto Marangoni Riyadh, the masterclass, “Decoding Luxury: from elite rarity to everyday prestige,” examined how the definition of luxury is changing. Discussions covered evolving consumer expectations, accessibility, individuality and the ways brands are adapting their products, experiences and communications.

The Jeddah event follows Istituto Marangoni’s establishment of a Riyadh campus in 2025. The school’s Saudi programmes were developed in partnership with the Ministry of Culture’s Fashion Commission and include areas such as fashion design, fashion communication, fashion management, digital media, fashion product and fragrances and cosmetics management.

For fashion students and educators, the development illustrates how international fashion schools are using local partnerships and industry events to connect global education with emerging regional markets. Istituto Marangoni’s Riyadh programmes also incorporate practical elements including workshops, internships and project work, alongside opportunities for students to continue their studies at the institution’s London or Paris campuses.

Texas Christian University (TCU) has established a new partnership with Florence-based fashion school Polimoda, giving TCU fashion merchandising students the opportunity to study in Italy from spring 2027.

The semester programme will offer students a choice between Fashion Design & Business and Fashion Design & Crafts, combining TCU’s merchandising and business-focused education with Polimoda’s creative and industry-connected approach. Students will study within Florence’s fashion and luxury ecosystem, with exposure to Italian craftsmanship, design and fashion production.

The partnership also aims to extend beyond student exchanges. Both institutions are exploring opportunities for research, faculty collaboration, knowledge exchange and potentially further academic programmes between the US and Italy.

For fashion students and educators, the collaboration reflects the growing role of international partnerships in connecting classroom learning with different fashion markets and professional environments. It also gives TCU students the opportunity to experience Florence as both a cultural setting and a working fashion ecosystem.

German designer Jon Liesenfeld has won the 2026 Redress Design Award, an international competition focused on circular and sustainable fashion design. He was selected as the first-prize winner from eight finalists representing Germany, Hong Kong, mainland China, the UK, Austria and Israel.

The finalists presented collections developed using discarded and surplus materials, including unwanted garments, factory surplus, excess new stock and furnishings waste. The competition places particular emphasis on designing out waste at an early stage of the product development process.

Liesenfeld will receive an educational programme with British fashion businesses, including apparel manufacturer Simple Approach and womenswear label Roksanda. Runner-up Jasmine Cheuk of Hong Kong will receive a mentorship with fashion activist Orsola de Castro.

The award also highlights the growing emphasis on practical circular-design skills within fashion education. Redress says it has directly educated more than 36,500 designers and educators through its programmes and online resources, while the 2026 finalists also took part in a “Remake to Retail” project transforming post-consumer clothing waste into retail-ready collections.

For fashion students and educators, the competition offers an example of how sustainability can extend beyond material selection into design development, product durability, repairability, recyclability and commercial application.

Last academic year, the Amsterdam University of Applied Sciences (HvA) completed the first edition of a new master's track: Digital Fashion Technology, whose second cohort of students started this month. The track was developed together with AMFI and the associated Fashion Research & Technology research group, and falls under the broader Master Digital Design. The one year master trains design professionals to take a critical look at the fashion industry and the impact of digital tools on it. FashionUnited spoke with lecturer Lisette Vonk and students Siena van der Laarse and Verona Kragten about the first year of the programme.

A new route within Digital Design

The Master Digital Design offers two learning routes. Interaction Design, which looks at how interaction design can solve problems in fields such as healthcare, has run for eight years. Digital Fashion Technology, developed together with AMFI, started last academic year. "The route was set up to train design professionals to critically assess the impact digital tools can have on the fashion industry," Vonk said. Students do not need a background in fashion design to apply. The programme draws applicants from fashion design, branding and management, architecture and ICT alike. "We need people who can frame, design, make and analyse in order to apply digitalisation well and assess it critically," she said.

An intensive, one-year programme

The master runs for one year and opens with a five-week Foundation phase, in which students learn design and design research methodologies, digital-making skills, and ethical reflection, alongside lessons on fashion history and the value chain. Two major projects follow. In the first semester, students take on an Industry Project, working in interdisciplinary teams on a challenge set by a fashion industry partner. One group last year explored an affordable way to translate physical knitted fabrics into a digital twin, while another examined how digital product passports could be applied. Each project ends with a working prototype and a research paper documenting the process and findings.

In the second semester, students define their own capstone project, often building on the research group's existing work, an industry question, or an idea of their own. "We challenge students not to research what has already been researched, but to look critically at what the industry needs and where knowledge is still missing," Vonk said.

Across three overarching themes, Digital Only Fashion, Hybrid Fashion, and Consumer & Business Innovation, students build a self-directed, individual portfolio rather than following one fixed track.

From the ballet stage to a knitwear lab

For her industry project, Siena van der Laarse worked with five fellow students across different disciplines on an assignment for the Dutch National Opera & Ballet, digitally recreating three costumes from a previous production. The team used CLO3D for garment and pattern development, Substance Painter for materials and textures, and Blender to build the digital environment. "The biggest takeaway for me was learning how to work as part of a multidisciplinary team on a large-scale industry project," Van der Laarse said.

She continued the collaboration for her capstone project, researching how 3D printing can be applied to historical costume design. She experimented with printing a historical collar and recreating a corset using PHA, a more sustainable material, to test its potential for wearable costumes. "This process helped me make informed design decisions and shaped the final result of my research," she said. Van der Laarse now works as a digital designer at Studio Anneloes.

Verona Kragten came into the master with a bachelor's degree in software development, without a fashion background. For her industry project, she worked with three classmates on an assignment for Knitwear Lab, a company that uses digital fashion visualisation for client communication, among other purposes. The brief: find a way to digitise the height variation in certain knitted patterns, something standard fabric scanners cannot capture accurately. After testing several scanning methods and lighting set-ups, the team streamlined a working process and handed Knitwear Lab a manual for it. "I really valued the direct contact with the industry partner," Kragten said.

For her capstone project, Kragten is researching what it is like to wear light-emitting clothing daily, using first-person research to explore garments in which light plays a subtle, aesthetic role rather than defining the whole outfit. One unexpected insight: the effect barely works in daylight or well-lit spaces, since light-emitting materials need darkness to be visible, while non-luminous materials need light to be seen at all. "There is an incompatibility between the two materials in a partly light-emitting outfit," she said.

Critical of digital tools, not just fluent in them

A recurring theme across the programme is that digital tools are not automatically an improvement. "We do not believe that digital tools always make the world better. You can use digitalisation just as well to make things worse," Vonk said. Students are pushed to weigh the pros and cons of what they make, and sometimes conclude that, despite good intentions, a prototype should not be used at all.

That critical lens extends to sustainability, circularity, decoloniality and ethics, subjects students explore through coursework as they develop their own point of view. "We need not only critical thinkers, but critical doers," Vonk said, describing the ambition to send graduates into the industry equipped to help drive its digital transition, rather than follow every new trend uncritically.

Open to industry partners

Collaboration with the industry runs through the entire programme, from guest lectures to feedback sessions where students present their work. Companies can apply to become an industry partner and submit a challenge for a new group of students each year, a commitment Vonk put at roughly three hours of time and no cost. Businesses can also give a guest lecture or attend a feedback session to meet students and follow their work. "We are always open to other ways of collaborating that we haven't thought of yet," Vonk said.

Now in its second year, the programme has sharpened its three themes and refined how industry projects are guided, while giving more attention to originality in capstone research. Vonk's message to the wider industry: digitalisation, accelerated further by the rise of generative AI, needs new critical insight, and collaborating with the master's students is one low-threshold way to build it.

Istituto Marangoni Firenze is exploring the role of fragrance beyond traditional perfumery through two projects connecting students and alumni with the worlds of design, hospitality and sensory experience.

At Aquaflor in Florence on September 11, students and alumni contributed to a multimedia installation created around two new fragrances. The project translates the scents’ ingredients and references to India into moving images and sound, offering an example of how olfactory concepts can be developed through visual and audio design.

The school is also participating in Pitti Fragranze with a September 12 talk, “The Scent of Hospitality,” examining how fragrance is being used in hotels, resorts and destinations to shape identity, memories and perceptions of place. Speakers include Magna Pars General Manager Barbara Rohner, brand and olfactory designer Ilaria Legato, and Firmenich maître parfumeur Sophie Labbé.

For fashion and design education, the projects demonstrate how fragrance can become a cross-disciplinary area of study, linking creative direction and sensory design with branding, hospitality and cultural storytelling. The initiative places student and alumni work within an industry context while expanding the ways designers can communicate experiences beyond visual formats.

Interview

For four graduating designers from Istituto Marangoni Shanghai, VIA NOMADIS became a starting point for exploring what it means to move through the world — physically, emotionally and culturally. Chen Yikun (Daniel Chen), Qin Ruiyang (Edmond Qin), Liu Ziqi and Wang Yanfei each approached the theme from a distinctly personal perspective, transforming ideas of movement, identity, desire, belonging and home into contemporary fashion narratives. Their collections span patchwork and tailoring, experimental textiles and digital environments, while also questioning how fashion can respond to changing lifestyles and incorporate more sustainable approaches. In this conversation, the designers reflect on the ideas behind their collections, the challenges of bringing those ideas to life, and how collaboration and technology expanded their work beyond the physical garment.

Chen Yikun——Daniel Chen

How did you translate the VIA NOMADIS themes of movement and identity into your collection?

I see nomadism not only as physical geographical migration, but also as a spiritual state of adolescence — that sense of floating, shifting self‑perception. I translated this emotional resonance into my collection through layered, fluid silhouettes and dynamic draped constructions. For identity, I used patchwork and reassembled textile fragments to reflect the fragmented, ever‑changing inner self of young people in this transitional phase.

What was it like seeing your physical garments transformed into 360-degree digital environments? Working with 360‑degree digital environments was truly challenging yet incredibly rewarding. It taught me a great deal, because digital garment creation shares the same core logic as making physical clothing. While the digital space lets audiences view every fabric and construction detail from all angles beyond physical runway limits.

How do you integrate traditional cultural heritage or Eastern philosophy into contemporary design?

My collection draws on British patchwork traditions, using iconic British tweed fabrics including Linton tweed and Harris tweed as core materials. At the same time, I incorporate silhouettes inspired by Japanese school uniforms. Rather than direct cultural quotation, I blend these distinct Western and Japanese references through modern tailoring, creating a new hybrid aesthetic for contemporary wearers.

What was the single biggest creative or technical hurdle you overcame during this project?

The biggest challenge was harmonising hand‑stitched patchwork craftsmanship with clean modern silhouettes. I carried out numerous trials on fabric weight and seam construction, aiming to integrate these elements seamlessly.

Beyond creating garments, how did you build a broader narrative or lifestyle concept around your work?

This collection is rooted in the idea of dreaming, capturing that floating, unsettled state of mind. While developing the garments, I drew on the diverse feelings of adolescence, as well as my own teenage habit of collecting fragments. These personal sensations are embedded within every design element. Ultimately, this project is also a reflection and summary of my personal favourite fashion aesthetic.

How did you incorporate sustainable practices, natural pigments, or circular design into your collection?

I prioritised circular design: I reused vintage and leftover textiles for patchwork. Some fabrics were dyed with natural plant‑based pigments. The whole concept focuses on upcycling, extending the lifespan of discarded materials.

What is your immediate next step: launching an independent label, joining an established fashion house or more?

I will continue my further studies for the time being. Moving forward, I may consider launching my own independent label, as I believe it will bring me greater challenges.

Qin Ruiyang ——Edmond Qin

How did you translate the VIA NOMADIS themes of movement and identity into your collection?

My interpretation of the show’s theme, Via Nomadis, centers on humanity’s ever‑shifting desires. Throughout life, people chase one desire after another to fill an inner void. Yet soon after one longing is satisfied, a new emptiness emerges, in an endless cycle. Within my narrative, when this cycle spirals far enough, one falls into the abyss of desire — Aubi6io.

How do you integrate traditional cultural heritage or Eastern philosophy into contemporary design?

Drawing from this abyss of desire, I turned to an archetype prone to falling into it: the dandies. I took the iconic morning coat of Dandy style as my primary silhouette inspiration, merging tailoring techniques from the Dandy era with contemporary design. I also looked to Japanese folk yokai, metaphors for human craving, as a key source for my fabric manipulation and accessories. Together with experimental, innovative materials, these elements build a collection that feels both avant‑garde and steeped in vintage spirit.

What was the single biggest creative or technical hurdle you overcame during this project?

The biggest creative and technical challenge I overcame in this project was transforming organza — a soft, smooth fabric — into something rigid and heavily creased with a distinctive texture. My initial idea was to use textile manipulation to recreate the translucent shed skin of a Japanese serpent yokai. I tested countless sheer fabrics and coatings; some turned far too stiff, while others failed to hold a desirable sheen. In the end, I used polyvinyl‑alcohol glue as a coating for organza, then developed a crumpling technique to give the material depth and a unique sense of fragmentation. I integrated this treated fabric into every look of the collection, making it the DNA of Aubi6io.

Beyond creating garments, how did you build a broader narrative or lifestyle concept around your work?

Beyond garment design, I extended the concept of Aubi6io into rap music. I released a namesake mixtape on Chinese streaming platforms. If fashion design is a more veiled way of sharing my perspective, rap lays bare everything I want to say for my audience. I turned the desires and stories that dragged me into the abyss into lyrics, and my repression and pain into melody. My hope is that anyone going through similar struggles will know they are not alone, to hold onto hope, and to believe that suffering need not last forever.

What is your immediate next step: launching an independent label, joining an established fashion house or more?

I will move to Milan for my final year of studies. After graduation, I hope to join an established fashion house to keep learning and grow as a designer. Once I feel ready, I plan to launch my own label and keep using fashion as my medium to share my vision.

Liu Ziqi

How did you translate the VIA NOMADIS themes of movement and identity into your collection?

My graduate collection, STILL FOLDED, was inspired by the nomadic reality of young people who rent and move frequently between cities. When you live this way, your belongings always seem to be folded, stacked or ready to be packed again. There is a constant feeling of being not quite settled.

I was inspired by artist Do Ho Suh's translucent recreations of former homes, which led me to ask: if home does not have to be a fixed physical place, could clothing become a kind of portable space instead?

I translated the traces of packing — compression, folds, wrinkles and fabric spilling out from corners — into the visual and structural language of the collection. Rather than trying to reproduce the appearance of a home, STILL FOLDED is about making peace with movement. When our place of residence is no longer permanent, perhaps clothing can offer a sense of belonging that moves with us.

What was it like seeing your physical garments transformed into 360-degree digital environments?

It was an incredibly striking and inspiring experience. Physical garments are constrained by physics and gravity, yet digital transformation sets them free from real-world limitations. In the virtual environment, light reshapes the delicate, translucent sheen of silk fabric, the irregular folded textures, and interwoven sheer layers, generating dynamic effects impossible to capture in reality. This made me realize digital technology is far more than a display tool — it is an extension of design itself. It allowed me to view my collection from an entirely new perspective and opened my eyes to the boundless potential at the intersection of fashion and technology.

How do you integrate traditional cultural heritage or Eastern philosophy into contemporary design?

My collection does not directly reference traditional cultural symbols. Instead, I was more interested in a contemporary experience that is shared by many young people today: mobility, temporary living and the search for a sense of belonging.

For me, the starting point was real life rather than a predetermined visual language. I wanted the collection to communicate an emotional state through material, structure and the relationship between the body and clothing. The garments become a kind of personal space — something soft, protective and portable that can move together with the wearer.

What was the single biggest creative or technical hurdle you overcame during this project?

One of the biggest challenges was learning how far the finished garment can be from the initial idea.

Before studying fashion design, I imagined the process as something much more direct: you have an inspiration and then turn it into a garment. In reality, every stage requires testing and reconsideration — from developing the research and experimenting with materials to adjusting patterns and resolving construction.

During the programme, ideas were repeatedly challenged, taken apart and rebuilt. That process pushed me outside my comfort zone, but it also strengthened my ability to execute an idea and helped me establish a clearer position as a designer. I learned that design is rarely a sudden moment of inspiration; it is a continuous process of making choices within constraints.

Beyond creating garments, how did you build a broader narrative or lifestyle concept around your work?

The narrative of STILL FOLDED is built around the idea of a "portable home."

One of the key looks is an asymmetric deconstructed trench coat that deliberately resists rigid shaping. Instead of stiff interfacing, I allowed the natural drape of silk to create folds around the neckline. Silk satin and organza are layered to create a relationship between an outer shell and what it contains, with the translucent organza exposing the structure of the dress underneath.

The irregular draping of the inner dress references the way fabric spills out when luggage is compressed and packed. Through these elements, I wanted the garment to feel like a private space that breathes and moves with the body.

So the collection is ultimately not only about clothing. It asks what "home" means to a generation accustomed to mobility, and whether our sense of belonging can exist independently of a permanent physical place.

How did you incorporate sustainable practices, natural pigments, or circular design into your collection?

My exploration of sustainability was closely connected to material innovation. For this project, I had the opportunity to work with innovative bio-based materials through the school's collaboration with SynMetabio.

What interested me was not simply using a sustainable material as a statement, but understanding how a new material can become part of the actual design process. Working with unfamiliar materials requires experimentation: you need to understand their physical characteristics, their limitations and how they can interact with more traditional fabrics and construction techniques.

For me, sustainability becomes more meaningful when it influences how a designer thinks about material choices and how those materials can be translated into a finished garment.

How did collaborating with film and communication students elevate your final presentation?

Cross-disciplinary collaboration with students from other majors freed my work from simple garment display. My film peers captured the fluid texture of fabrics through dynamic footage and 360° virtual environments, while we created image and text materials tailored for social media platforms. The final presentation carries richer atmosphere and a fully cohesive narrative.

What is your immediate next step: launching an independent label, joining an established fashion house or more?

Moving forward, I plan to further my studies in luxury management to build robust commercial branding thinking while continuously refining my personal design language. I will gradually nurture my own fashion label, and I also look forward to collaborating with established high-end fashion houses in the future to strike a balance between pure artistic creation and commercial implementation.

Wang Yanfei

How did you translate the VIA NOMADIS themes of movement and identity into your collection?

My graduate collection, Moving with You, grew out of my own experience of frequently moving between cities for study and work. For many young people living a mobile life today, home is no longer necessarily a fixed house or a permanent address. It can instead be the emotional connections and sense of security that we carry with us.

I drew inspiration from nomadic tents and pet travel carriers, translating ideas of wrapping, folding, storage and portability into garment structures. I wanted the clothing itself to become a kind of mobile home — something that could move with the wearer while providing an emotional sense of shelter and stability.

How do you integrate traditional cultural heritage or Eastern philosophy into contemporary design?

My collection does not rely directly on traditional cultural references. Instead, it comes from observing contemporary life and translating personal experience into design.

I am interested in the emotional relationship between people, clothing and the idea of home. Through my own experience of moving frequently, I began to think about whether home needs to be defined by a fixed physical location at all.

The collection therefore approaches "nomadism" through a contemporary emotional perspective: how can design give someone a feeling of protection and belonging when everything around them is constantly changing?

What was the single biggest creative or technical hurdle you overcame during this project?

The biggest challenge was learning how to deconstruct a personal experience and turn something emotional into a garment that actually works.

Before studying fashion design, I thought primarily about beautiful silhouettes and visual impact. Through this project, I realised that design needs to go much deeper. You have to understand what you are trying to communicate and then find a structural and functional language capable of expressing it.

For Moving with You, that meant translating very personal feelings about moving, instability and attachment into elements such as wrapping, adjustable straps, fastenings, gathering and folding. The challenge was to retain the emotion while making those ideas physically convincing as clothing.

Beyond creating garments, how did you build a broader narrative or lifestyle concept around your work?

The broader narrative is about creating shelter for a generation that is constantly moving.

The first look, for example, borrows from the construction logic of a nomadic tent. An oversized volume evokes the tent itself, while multiple adjustable straps and fastening structures allow the garment to wrap, expand and fold. Circular gathered structures also reference the storage form of pet travel carriers.

I deliberately avoided making these functional elements look like conventional technical outdoor clothing. Instead, the functionality is integrated into the garment's construction.

When the wearer puts it on, I want there to be a feeling almost like constructing a temporary shelter around the body. The clothing becomes both a physical object and an emotional metaphor for the way contemporary young people search for stability while living increasingly mobile lives.

JD Institute of Fashion Technology has launched House of JD, an e-commerce marketplace designed to give students, alumni and emerging designers a route from completed design projects to the commercial market.

Launched in Mumbai on September 14, the platform covers fashion, interiors, textiles, art, objects and lifestyle. It is intended to allow creative talent to showcase and sell work while gaining experience in presenting, positioning and commercialising products.

The marketplace will be organised into five categories — hoJD Student, hoJD Next, hoJD Signature, hoJD Collective and hoJD Legendary — bringing together different stages of the institute’s wider design ecosystem. Unlike an open marketplace, House of JD says participating designers and products will undergo a curation process before being featured.

For fashion students and educators, the initiative highlights an increasingly important part of design education: understanding what happens after a collection or project is completed. By providing a potential route to consumers, House of JD aims to give emerging designers practical exposure to the commercial side of creative work.

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.

Explore Vogue College of Fashion BA program

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".