Report

Brais Albor Rodriguez, Dieter Vlasich Obermann, Jennifer Milleder, Farnia Salim and Loïs Cousin competed at the 2026 International Festival of Fashion, Photography and Accessories in Hyères (Hyères Festival). These five finalists, including two eventual award winners, chose to work with linen provided by the Alliance for European Flax-Linen & Hemp (Alliance).

FashionUnited met with the designers to discover why they selected this material, which is cultivated from Brittany to the Netherlands, and how they processed it.

What do they have in common? These emerging designers do not view linen solely from an ecological perspective. They are drawn to its sculptural properties, textures, structural capabilities and potential to be combined with other materials.

Not all of them presented their linen creations on the catwalk at the Forum du Casino. However, the showroom at the Villa Noailles offered an opportunity to meet the five designers and discover the pieces they crafted from the fibre.

Brais Albor Rodriguez: raw masculinity defying catwalk conventions

Prior to his introduction to the Alliance, Albor Rodriguez, who won the 2026 City of Hyères Public Prize and received a special jury mention, primarily associated linen with shorts and summer clothing.

During the 2026 Hyères Festival, he discovered previously unfamiliar properties and finishes, even though linen holds a personal cultural significance for him. Whilst based in Milan, he is originally from Galicia in northern Spain, where linen is traditionally used for regional costumes.

He utilised linen yarn in multiple ways: a 100 percent linen jacket resembling boiled wool; a paper-like textile; waxed linen; and torn, blended linen offcuts used to edge a recycled fur coat.

Dieter Vlasich Obermann: aesthetic bridging humanity and nature

Originally from Yucatán in Mexico, Vlasich Obermann looks beyond linen’s environmental benefits—such as sustainable farming, durability and thermoregulation—to explore its wider creative potential.

This is evidenced by an experimental bust crafted from soil and linen yarn, which Vlasich Obermann describes as a “regenerative” approach, paired with a linen voile skirt.

After receiving several metres of fabric, he used the material to create textures and relief effects.

His organic compositions blend plant fibres with textiles, fixing flax fibres onto an embroidered base, or incorporate human hair to create surfaces that evoke the interdependence between humanity and nature.

Taking his eco-design approach a step further, Vlasich Obermann used chia seeds as a natural binder to secure certain fibres.

This textile research earned him the Métiers d’Art Prize, which rewards the best collaboration between a Hyères Festival finalist and one of the Maisons d’Art within the Chanel ecosystem.

Jennifer Milleder: when linen meets Austrian sartorial heritage

Milleder, an Austrian designer based in Vienna, was unaware of the wide variety of linen-based textiles before the Alliance offered them to her for the competition. Through this initiative, she discovered that Austrian suppliers were among the organisation’s partners.

As her six looks are rooted in a reinterpretation of traditional Austrian dress, she deliberately sought out a domestic supplier to strengthen the synergy between the provenance of the materials and the narrative of her collection.

She sourced a jacquard fabric from Rechberger Weberei, an Austrian weaver and member of the Alliance. Milleder used this textile to craft wide-leg trousers with pronounced volume. For a sculptural coat, she also paired it with fabrics featuring regional motifs.

Farnia Salim: from Iranian cultural heritage to Milano Unica trade show

Salim, an Iranian designer based in Milan, was already familiar with linen as a material, though she knew little about the Alliance. She discovered the fabrics on offer at the Milano Unica trade show and was particularly drawn to the natural hues, such as cream and beige, which align with her signature colour palette.

Her six looks express a desire to move beyond exclusively negative representations of Iran. She aims to assert a proud, joyful cultural identity whilst blending it with Western references. Her goal is to strike a balance between the two.

The textile interpretation of this mindset is reflected in a linen-blend fabric that features a subtle reddish undertone whilst maintaining a neutral palette.

Loïs Cousin: shifting linen from rustic codes to urban aesthetics

Although Cousin had previously worked with linen, he mainly associated the fibre with warm, often yellowish canvases. Discovering waxed linen allowed him to explore a different aesthetic.

The centrepiece of his experimentation is a pair of wide-leg linen trousers coated in a synthetic material. This finish alters the fabric’s hand feel, drape and light reflection.

Supplied for the competition by Alliance partner Linea S, this waxed linen contrasts with the eco-design principles typically associated with the fibre. Nevertheless, it successfully embodies Cousin’s desired aesthetic.

The trousers incorporate repurposed curtain heading tape. He removed the cords from the tape, stitched the bands onto the garment and gathered the fabric to create volume.

This upcycling approach aligns with his affinity for weathered buildings, concrete surfaces and the urban environment. He seeks to highlight the culture and vitality of the suburbs rather than focusing solely on their clichés.

The British Fashion Council has unveiled its 2026 New Wave: Creatives cohort, selecting 50 rising talents across various image-making, production, and digital communication disciplines, according to a press release shared by the organization.

The annual initiative, established to identify and support early-career fashion talent, has expanded its focus to incorporate emerging field categories including beauty commentators, cultural commentators, show producers, and sound designers alongside traditional roles such as photography, styling, and casting. The selected creatives will be recognized as part of The Fashion Awards 2026 at the Royal Albert Hall in London.

Selection for the platform involved a peer-nomination process initiated by the previous year's cohort, followed by evaluation from a panel of industry executives, media editors, and designers including Simone Rocha and i-D Magazine Editor-in-Chief Steff Yotka. Operationalized as a searchable digital database filterable by discipline and region, the platform serves as an industry sourcing index aimed at connecting commercial brands and creative directors with vetted global talent.

The inclusion of non-traditional creative roles reflects broader shifts in fashion media and brand communications, where digital commentary and multi-sensory runway production hold significant commercial relevance. For educational institutions and curricula, the expanded scope provides clear insight into evolving career trajectories within the creative economy, signaling a shift toward interdisciplinary skills that combine cultural commentary, sound design, and digital content creation with conventional garment and image presentation.

The Savannah College of Art and Design has opened its newest exhibition concept, At the Designers’ Table: Iconic Evening Elegance, at the SCAD LUXE luxury archive and research center in Savannah for the fall 2026 academic quarter, according to a press release shared by the university.

The exhibition establishes an intimate tablescape format to examine the craft, creative vision, and signature design codes of global luxury fashion houses. By displaying archival and contemporary items alongside one another, the installation creates a material dialogue between historic foundations and present-day brand interpretations within the luxury sector.

Heritage brands

The showcase features iconic pieces and rare objects from heritage brands including Hermès, Louis Vuitton, Chanel, Christian Dior, Manolo Blahnik, and Christian Louboutin, alongside original design drawings from Schiaparelli. Established in 2025 across SCAD’s Savannah and Atlanta campuses, SCAD LUXE functions as a working classroom, dynamic exhibition space, and specialized research collection dedicated to the 360 billion dollar global luxury market.

The archive provides students across multiple creative disciplines direct access to curated couture garments, bespoke design objects, accessories, fine furnishings, and primary source historical materials.

The initiative highlights a growing trend among higher education institutions to integrate proprietary museum-grade archives directly into applied academic curricula. Kate Newell, Executive Dean of Academic Services at SCAD, noted in the release that access to the collection allows students across fashion, luxury and brand management, fibers, jewelry, industrial design, and illustration to trace house codes from a founder's original vision to modern iterations.

By providing direct physical analysis of luxury goods and cross-disciplinary study, the university aims to equip future industry professionals with actionable insights into heritage preservation, artisan collaboration, and brand equity management.

Spanish public research institutions have emerged as key drivers of European technology transfer growth over the past two decades, despite widespread capacity constraints across the continent’s academic landscape, according to a press release shared by the European Patent Office (EPO). Produced in collaboration with ASTP and the Fraunhofer Institute for Systems and Innovation Research, the study reveals that European patent applications involving public research entities more than doubled from approximately 3,200 in 2006 to nearly 8,000 in 2025. While traditional hubs like Germany, France, and the UK continue to dominate total volume, their collective share fell from 64 to 55 percent as regional academic networks in Spain and the Netherlands expanded their intellectual property portfolios.

The study indicates that while European universities have achieved parity with US counterparts by holding roughly 9 percent of all European patents, operational bottlenecks hinder long-term commercial viability. Smaller Knowledge Transfer Offices (KTOs)—which account for 90.5 percent of all European transfer facilities—struggle with limited headcount and resources relative to larger hubs that manage 16 times more invention disclosures per staff member. Consequently, 40.7 percent of European university-owned patents expire within 10 years, compared to 26.3 percent for US academic institutions, underscoring systemic friction in maintaining, scaling, and licensing early-stage technologies.

Within Spain, public research centers are increasingly anchoring strategic innovation in sectors like biotechnology, pharmaceuticals, and material science, according to data from the EPO’s Data Desk dashboard. The Spanish National Research Council (CSIC) led national output in 2025 with 92 European patent applications, ranking 18th across Europe, followed by the Catalan Institution for Research and Advanced Studies (ICREA) with 51 applications and the University of the Basque Country (EHU) with 43. Additionally, the EPO’s Deep Tech Finder ranks Spain eighth in Europe for research-derived spin-offs, with 204 active entities identified; however, over 75 percent remain in early-stage growth, highlighting the critical role academic infrastructure and specialized transfer networks must play to move scientific research from university laboratories to commercial markets.

For fashion education institutions and design universities, these findings highlight a growing imperative to integrate formal intellectual property (IP) strategy, technology transfer literacy, and material science innovation directly into academic curricula. As the fashion sector accelerates its shift toward bio-based textiles, wearable technology, and sustainable manufacturing processes, the ability of design students and researchers to protect functional inventions—rather than relying solely on aesthetic copyright—will determine institutional viability and commercial success. Bridging the gap between design studio research and small-scale KTO infrastructure will allow fashion schools to better commercialize student-led material innovations, form cross-disciplinary partnerships with public science institutions, and build sustainable enterprise pipelines.

Design Academy Eindhoven has announced the recipients of its 2026 graduation awards, recognizing Master and Bachelor projects that challenge traditional design methodologies through material critique, systemic inquiry, and socio-political engagement, according to a press release shared by Design Academy Eindhoven.

Presented during the Graduation Show Opening on October 17, 2026, the Gijs Bakker, René Smeets, and Melkweg Awards were adjudicated by independent external juries comprising industry leaders, media figures, and cultural researchers. Each winning graduate received a 2,000 Euro prize and a trophy produced in collaboration with MAKE Eindhoven, highlighting the institution's commitment to positioning design as an interdisciplinary tool for critical research rather than purely commercial production.

The Master-level Gijs Bakker Award was awarded to Raghad Saqfalhait from the Geo-Design department for her project, The Dead Are Never Inert, which utilizes performance and film to trace ash particles in Palestinian soil samples as a form of decolonial archaeology. The jury, which included representatives from Disegno, Futuress, and the Royal College of Art, commended the work for integrating political critique with material sensitivity while avoiding rigid academic hierarchies.

At the Bachelor level, Athanasios Paspaliaris received the René Smeets Award for Unskilled Worker, a documentary-based investigation into the invisible logistical labor supporting urban design infrastructures. Meanwhile, the Melkweg Award for radical design concepts was granted to Louella Exton for Tracing Hot Particles: A Matter of Time, an installation examining environmental radioactivity through experimental weather modeling and material experimentation, with an honorable mention extended to Becky Franks for her craft-based exploration of assisted conception.

Research-driven, system-critical pedagogy

The selection criteria across all three categories reflect a broader shift within higher fashion and design education toward research-driven, system-critical pedagogy. By rewarding projects that bridge localized human experience with broader macroeconomic and ecological urgencies, Design Academy Eindhoven underscores the evolving role of academic institutions in equipping emerging practitioners to navigate complex political and industrial realities.

For educators and institutional leaders, the outcomes demonstrate how studio curricula can move beyond traditional object-making toward speculative methodologies, ultimately reshaping how future designers engage with supply chains, ethics, and material origins.

Educators from 30 North Carolina counties and 19 countries convened at the Friday Center for UNC-Chapel Hill’s K-12 Global Education Symposium to address strategies for integrating international perspectives into standard curricula, according to an article published on EducationNC. Hosted by UNC World View—a program delivering continuing education to K-12 and community college instructors—the event focused on aligning foundational pedagogy with rapid shifts in global trade, technology, and economic integration.

The symposium emphasized practical methods for embedding cross-cultural competencies within state teaching standards, advocating for incremental curriculum adaptations over isolated pilot programs. Representatives from the North Carolina Department of Commerce and university leadership highlighted the connection between K-12 education and regional economic competitiveness, pointing to workforce preparation as the core driver for business investment. Presentations outlined how interdisciplinary global frameworks foster adaptability, critical thinking, and problem-solving skills required across evolving international labor markets.

For fashion education and related creative industries, the initiative underscores a growing imperative to align early-stage instruction with complex global supply chains and cross-border commercial environments. As design, manufacturing, and textile sectors become increasingly interdependent, integrating broader economic and cultural contexts into core instruction prepares students to navigate international labor dynamics, regulatory environments, and multi-market consumer demands prior to entering specialized higher education programs.

Uzbekistan will establish a new state higher education institution in its capital to address growing workforce demand across its domestic light industry and fashion sectors, according to a report published by Qazinform News Agency citing UzA. The Tashkent International Fashion Academy will operate under the country's Agency for the Development of Light Industry, building directly upon a joint educational framework previously introduced by the Tashkent Institute of Textile and Light Industry in collaboration with the Paris International Fashion Academy. The institution is scheduled to launch classes for the 2026/2027 academic year, with enrolled students from the pre-existing joint program transitioning into the new entity to complete their degree tracks.

Administratively, the academy will offer independent bachelor’s and master’s degree programs alongside its joint international offerings, while introducing a formal dual education system starting in the 2027/2028 academic year to align practical coursework with market requirements in textiles, garments, leather, and footwear. The presidential resolution authorizing the institution establishes a direct academic pipeline for graduates of vocational technical colleges, allowing qualified individuals to enter the third year of bachelor's degree tracks on a fee-paying basis. The academy will also function as a design hub providing commercial clothing development services for state organizations under government contracts, while administrative measures including multiple-entry visa procedures and a planned 400-bed public-private partnership dormitory are designed to integrate international faculty and students.

The initiative highlights a structural shift in how emerging manufacturing regions are attempting to move up the value chain by formalizing technical and creative education inside national borders. By embedding international academic partnerships directly into state-backed industry development agencies, Uzbekistan aims to reduce reliance on external talent while standardizing vocational-to-higher-education pathways across its expanding textile export sector. For global fashion educators, the move reflects broader trends in Central Asia toward localized talent development, bridging historical industrial output with higher-value design capability and domestic brand architecture.

The SCAD Fash Museum of Fashion + Film in Atlanta opened an exhibition titled C.Z. Guest: Portrait of an American Style Icon on Oct. 15, 2026, marking the debut public presentation of over 40 ensembles and accessories from the late tastemaker's personal wardrobe, according to a press release shared by the Savannah College of Art and Design (SCAD). The featured garments, donated to the SCAD Museum of Art Permanent Collection by Guest's daughter, Cornelia Guest, alongside select loans from The Metropolitan Museum of Art, chronicle 20th-century American luxury through designs by Mainbocher, Adolfo Sardiña, Oscar de la Renta, Valentino, Courrèges, Chanel, Huntsman Savile Row, and Carolina Herrera. Curated by university staff in collaboration with creative consultant Stefano Tonchi and presented by Italian luxury fashion house Max Mara, the exhibition runs through Feb. 21, 2027.

Organized into thematic sections, the retrospective examines how Guest's personal wardrobe bridged functional American sportswear with high-society couture, according to the press release. The exhibition pairs physical garments with archival imagery from photographers such as Slim Aarons, Cecil Beaton, Irving Penn, Lord Snowdon, and Bruce Weber to contextualize her roles across Hollywood acting in the 1940s, midcentury high society, and her private life as an equestrian and horticulturist at her estates in Palm Beach and Long Island. A formal fall celebration on Nov. 10 will feature a members preview, a private reception, and an exclusive preview of highlights from an upcoming SCAD-produced documentary detailing Guest's life and cultural footprint.

From an academic perspective, the retrospective functions as an active pedagogical resource integrated directly into the university's curriculum, according to the press release. Students enrolled across SCAD degree programs, including fashion design, fashion marketing and management, luxury and brand management, photography, writing, and film and television, will directly engage with the curators and industry collaborators throughout the exhibition's run. By converting archival donations and institutional loans into primary research tools, SCAD Fash provides students with direct access to garment construction, textile analysis, and heritage brand storytelling, reinforcing institutional positioning around career-directed design education and archival preservation.

Amsterdam-based digital fashion platform The Fabricant and London College of Fashion, a constituent college of University of the Arts London, have launched Image-to-Pattern, an 18-month research and development project supported by the European Institute of Innovation and Technology Cultural and Creative sectors and industries, according to a press release shared by the organizations. The initiative addresses the structural gap between digital fashion design and physical garment manufacturing, targeting the workflow step where approved renders are converted into factory production specifications. The collaboration aims to replace manual tech packs, unstandardized spreadsheets, and iterative sampling processes with artificial intelligence tools designed to streamline factory handoffs and minimize pre-production material waste.

The program's initial output is Tech Pack, an artificial intelligence tool available on The Fabricant's platform that generates structured manufacturing briefs directly from design files. To ensure functional alignment with supply chain requirements, the tool was tested alongside garment manufacturers Becri, United Textiles Group, and Padma. A second tool, Sewing Pattern, is currently in development and slated for release in the first quarter of 2027. Designed to convert technical sketches or photographs into 2D production patterns, the tool incorporates institutional pattern-making knowledge to help bridge technical expertise gaps within European apparel supply chains.

From an educational and structural perspective, the partnership highlights how fashion curricula must adapt to integrate digital production standards alongside traditional craftsmanship. European textile manufacturing employment has decreased from over 1.5 million to under 1.2 million workers over the past decade, with more than a third of the remaining workforce over 50 years old, according to data cited from Euratex. By capturing specialist technical knowledge within scalable software tools, institutions like London College of Fashion demonstrate how academic partnerships can preserve technical craft, modernize curriculum standards, and equip students with competencies suited for an increasingly automated design and manufacturing environment.

Selfridges has partnered with media platform Dazed to launch an open call for emerging creatives, offering six successful applicants the opportunity to showcase their work in the luxury department store’s Oxford Street windows in London.

The initiative is open to people aged 18 to 35 working across creative disciplines, including fashion design, photography, styling, make-up, graphic design, set design, sculpture and filmmaking. Selected artists will take over six windows for three months from March 25, 2027, with their work also promoted to a global audience through Dazed’s channels.

Applications opened on October 16 and close at midnight on October 23, 2026, with those interested in participating required to submit a link to their work, alongside a statement outlining their inspirations, what the opportunity would mean to them and their proposed project.

Following the initial selection, shortlisted applicants will receive a 1,000 pound pitch fee to present their ideas to a jury comprising industry creatives and representatives from Selfridges and Dazed. The six final artists will each receive a 3,000-pound creative fee, alongside a production budget to bring their concepts to life.

Selfridges creative director Will Wyness said the initiative marks the first time the department store’s windows have been handed over to young artists in this way, aiming to give emerging talent a prominent public platform. He added: “We want to discover unfiltered new talent and give them the scale they deserve.”

Dazed editor-in-chief Ted Stansfield commented that the partnership builds on the publication’s 35-year history of championing new creative voices, adding: "This open call is a chance to discover some of the most exciting talent out there, giving selected artists a platform to reach new audiences and take their careers to the next level.”

British biomaterials company Ponda has launched Wear the Wetland, a customisable clothing collection designed to connect corporate merchandise with wetland restoration, with Imperial College London among the first organisations to adopt its materials.

The Spanish Retail Textile Association (ARTE) has established a strategic framework agreement with ESIC Corporate Education to expand specialized executive training, talent recruitment, and workforce retention across Spain’s fashion retail sector, according to an article published on World Footwear. ARTE, an industry body representing major global retailers including Inditex, Primark, Mango, and Tendam, will collaborate with the corporate training division of ESIC Business & Marketing School to address evolving commercial and operational demands within the domestic market.

The partnership centers on designing tailored corporate curricula, specialized seminars, and executive education tracks focused on critical operational domains such as digital transformation, supply chain management, e-commerce integration, customer experience, and sustainable practice implementation. Under the agreement, personnel from ARTE’s member organizations will gain prioritized access to ESIC’s master’s degrees and specialized executive training modules. Furthermore, the initiative establishes a direct talent pipeline connecting ESIC students and alumni with career pathways within Spain's leading apparel companies, alongside hosting joint industry forums to evaluate emerging European Union regulatory shifts and consumer shifts.

The collaboration illustrates an increasing reliance on institutionalized corporate-academic alignment to mitigate structural skills gaps within the apparel management ecosystem. As European fashion retailers navigate stringent environmental compliance mandates, multi-channel logistics complexity, and digital commerce maturation, structured executive upskilling ensures that workforce capabilities align directly with modern enterprise requirements. For ESIC, formalizing ties with dominant industry stakeholders reinforces curriculum relevance and enhances graduate placement infrastructure within the high-volume retail sector.

Higher education institutions are restructuring coursework to meet rising demand for technical fluency in digital garment design and virtual environment integration, according to an article published on Sheen Magazine. As fashion houses expand into gaming, augmented reality, and virtual assets, academic centers are introducing specialized curricula to bridge the gap between physical apparel construction and digital-only creation.

Programs such as Ravensbourne University’s digital technology pathway and the University for the Creative Arts’ postgraduate digital fashion degree reflect an institutional shift toward training designers who can engineer 3D garments without physical material constraints.

Beyond degree offerings, scholarly research and digital archiving are formalizing the study of digital fashion ecosystems. Academic conferences and thematic journal publications have laid foundational frameworks for analyzing how information and communication technologies intersect with traditional apparel design.

Google Arts & Culture’s We Wear Culture initiative

Concurrently, heritage preservation projects such as Europeana Fashion and Google Arts & Culture’s We Wear Culture initiative demonstrate how archival fashion history is being digitized to democratize access for global researchers and students.

The institutionalization of digital fashion education carries long-term strategic implications for talent pipelines, sustainability metrics, and commercial monetization. By decoupling garment creation from raw material supply chains, virtual design training addresses pressing waste reduction goals while establishing new revenue streams across non-physical markets, including non-fungible tokens and interactive media.

For higher education providers, embedding virtual tailoring and blockchain asset creation into core curricula is increasingly vital to ensuring graduate viability in an evolving luxury and apparel market.

The YKK London Showroom Award is back for a second year, returning after a hugely successful launch in 2025. Ten finalists have been selected, and the winner and runner-up of each award will be announced at an exclusive event at the YKK London Showroom on 22 October.

The award builds on the showroom’s decade-long role as a creative hub for designers and students. Opened in Shoreditch in 2015, near the historic textile centres of Whitechapel and Spitalfields, it offers workshops, bespoke services and practical support to help emerging creatives bring their ideas to life.

Launched in 2025, the first edition attracted more than 70 applications and selected ten finalists, whose work was showcased during the showroom’s tenth-anniversary celebrations. Building on that success, the 2026 award once again challenges students to use YKK fastening products in original and imaginative ways.

The 2026 competition is open to students at any UK college or university, as well as 2026 graduates of fashion-related degrees, including fashion, textile, accessory and jewellery design. Entry was free, with applicants supported through a series of workshops held from June to August.

“I am absolutely delighted to be able to welcome YKK London Showroom Award again this year, following the momentous inaugural edition.

As one of the judges I looked through every single project applied for this award, I found the standard of the work is remarkably high and I am fairly satisfied with the 10 finalists’ items. I promise an exciting evening is expected on the 22nd.”

This year’s programme features two awards. The YKK London Showroom Award offers a £2,000 prize, while the Kei Kagami Award, funded by Kei Kagami Ltd., offers £1,000. A runner-up for each award will also receive their choice of YKK products worth up to £100.

YKK is proud of its Japanese heritage, and it shows in how the showroom works. Founded in Tokyo in 1934, the company is guided by the CYCLE OF GOODNESS® philosophy: "no one prospers without rendering benefit to others". Supporting emerging designers is one way that philosophy is put into practice. The showroom's design, led by Kagami who used to be an architect, reflects the same heritage. It brings an industrial "ironworks" concept together with influences from Japanese Noh theatre.

The winners and runners-up will be revealed at an exclusive event from 6pm to 9pm on 22 October at the YKK London Showroom, 154 Commercial Street, London E1 6NU. The evening will bring together the finalists from both awards, with the judges sharing their perspectives on the shortlisted projects and winning designs. To learn more about the YKK London Showroom, follow @ykklondonshowroom on Instagram.

About YKK

YKK is a global leader in fastening solutions, renowned for its commitment to quality, innovation and sustainability. With operations in more than 70 countries and regions worldwide, YKK provides, fastening products and architectural solutions that support a wide range of industries. As a long-standing partner to the sports, outdoor and apparel sectors, YKK works closely with brands to develop high- performance products that enhance functionality, durability and design. Through continuous innovation and collaboration, YKK helps shape the future of the industries it serves.

Indian label Margn, founded by Saurabh Maurya, has been named the winner of the eighth season of the R|Elan Circular Design Challenge, according to a press release shared by Reliance Industries Limited. Finalized during a showcase at the Embassy of France in New Delhi as part of the India-France Year of Innovation 2026, the global platform recognized designer Anil Padia’s label Yoshita 1967 as runner-up.

Developed by Reliance Industries’ R|Elan initiative alongside Lakmé Fashion Week and the United Nations in India, the challenge evaluated over 220 international applicants to select designers who successfully integrate circularity, scalable supply chain principles, and material innovation into modern design.

Margn’s winning collection balanced contemporary design aesthetics with circular material choices and construction methods, securing a cash prize of 16,000 USD and a dedicated showcase slot at Lakmé Fashion Week in March 2027, according to a press release shared by Reliance Industries Limited.

Runner-up Yoshita 1967 focused on marrying cultural heritage and traditional artisanal techniques with responsible design frameworks, earning a 5,000 USD prize and tailored mentorship from sustainable fashion advocate Orsola de Castro. The international finale panel—which included executives from the Fédération de la Haute Couture et de la Mode, Vogue India, and the United Nations—judged candidates on commercial scalability, material exploration, and alignment with the UN Sustainable Development Goals.

The integration of diplomatic bodies, luxury federations, and major textile manufacturers highlights an evolving framework for fashion education and emerging designer incubators. By offering structured mentorship, global showcase opportunities, and exposure to international cross-cultural trade, platforms like the Circular Design Challenge provide critical templates for academic institutions.

Integrating such real-world sustainability criteria, material testing capabilities, and commercial viability standards into design curricula helps bridge the gap between traditional fashion education and the operational demands of a circular textile economy.

LIM College in New York City and ESMOD Paris have partnered to launch a new dual-location Bachelor of Business Administration degree in Fashion Design and Business, according to details released by LIM College. The four-year program is structured to bridge the persistent gap between commercial strategy and creative design by splitting instruction across both global fashion capitals. Students will complete their first and fourth years at LIM College’s campus in Manhattan, while spending their second and third years in France studying garment construction and design at ESMOD Paris.

The curriculum blends foundational business disciplines with intensive technical craftsmanship. During the initial year in New York, coursework focuses on core fashion business principles, marketing, and industry fundamentals. The two-year tenure in Paris shifts heavily toward technical design, studio production, patternmaking, and collection development under ESMOD’s established design pedagogy. Students then return to New York for their final year to complete advanced business management coursework, undertake corporate internships, and build a capstone fashion collection.

This cross-border collaboration addresses a well-documented talent shortage in the apparel sector: mid-to-senior executives who possess both quantitative business acumen and technical design expertise. By institutionalizing study abroad directly into a four-year degree rather than offering it as an optional semester exchange, the partnership offers a streamlined model for global fashion education. As commercial brands navigate volatile supply chains and evolving international markets, programs that integrate cross-cultural immersion with dual-discipline mastery reflect a strategic turn toward preparing versatile, job-ready graduates.

American career changers are increasingly evaluating their professional options through the lens of artificial intelligence, with 53 percent expressing anxiety over how automation could impact their long-term prospects, according to a press release shared by The TEFL Academy detailing its United States Career Resilience Report 2026.

The findings reveal that 83 percent of surveyed workers have fundamentally altered how they approach their future careers, while 61 percent have explicitly questioned the ongoing value of their degrees or specialized training. Within fashion, retail, and global supply chains, sectors rapidly integrating algorithmic planning, automated logistics, and generative garment design, these figures signal an urgent reassessment of professional longevity and skill durability among current and prospective industry talent.

The technological transformation across retail operations mirrors wider economic indicators highlighted in the report, which references World Economic Forum estimates that 39 percent of core workplace skills will shift by 2030. As artificial intelligence absorbs routine administrative tasks, demand forecasting, and initial technical design, retail and supply chain personnel are encountering shifting job expectations rather than immediate role elimination.

AI Resilience Index

Though 58 percent of survey respondents believe artificial intelligence will eliminate more jobs than it creates over the next decade, 81 percent express a willingness to participate in training or upskilling programs. The report's AI Resilience Index further notes that careers requiring physical presence, complex human interaction, and high-stakes decision-making remain structurally protected, emphasizing that technical tools enhance operational speed rather than replace nuanced human oversight.

The TEFL Academy's press release alongside broader industry benchmarking, such as The State of Fashion 2026 report by McKinsey & Company and The Business of Fashion, as well as labor and macroeconomic data from the US Bureau of Labor Statistics and the World Economic Forum suggest that for fashion academies and vocational institutions, these findings highlight a critical imperative to adapt retail, merchandising, and supply chain management curricula to focus on inherently human capabilities alongside digital literacy.

As 78 percent of respondents expect artificial intelligence literacy to become as fundamental as basic computer skills, educational leadership must blend technical fluency with instruction in critical thinking, ethical sourcing, sustainable strategy, and high-touch consumer engagement. By orienting fashion education toward strategic decision-making and creative direction—areas less vulnerable to automated disruption—institutions can preserve graduate employability and reinforce institutional viability in an AI-shaped labor market.

Leading European academic institutions are diversifying their law curricula to address growing legal and regulatory challenges facing the global fashion ecosystem. As regulatory frameworks expand around intellectual property, sustainability claims, artificial intelligence, supply chain transparency, and digital commerce, universities are introducing dedicated master’s degrees, joint international qualifications, and targeted undergraduate modules, according to an article published on The Fashion Law.

Institutions across major European hubs are adopting distinct instructional approaches, balancing pure legal theory with interdisciplinary industry strategy to prepare graduates for specialized corporate and advisory roles.

Academic frameworks reflect a spectrum of instructional models tailored to different operational needs within the sector. Dedicated postgraduate degrees, such as the LL.M. in Fashion Law at Queen Mary University of London and the one-year LL.M. at Luiss School of Law in Rome, treat fashion law as an integrated field covering the entire product lifecycle from design protection to supply chain liability.

Other institutions leverage collaborative cross-border structures, exemplified by KU Leuven’s partnership with Luiss, which enables law students in Belgium to complete dual-institution coursework. Meanwhile, business-centric programs like Milan’s Bocconi University embed intellectual property modules directly within luxury management degrees, while Spain’s Universidad Carlos III de Madrid is launching a practice-focused master’s in international fashion and luxury law in collaboration with media group Condé Nast College Spain.

The expansion of specialized legal education reflects a broader shift toward multidisciplinary training within fashion academia. As regulatory pressures intensify across the European Union—particularly regarding environmental compliance and digital traceabilities—the traditional division between fashion design, business, and legal counsel is narrowing.

Integrating specialized legal modules into standard law degrees or fashion management programs equips emerging industry professionals with the analytical tools needed to navigate corporate governance, IP enforcement, and international trade disputes. This academic shift underlines the growing institutional necessity of aligning curriculum design directly with global market compliance and corporate risk management.

Source: The Top European Schools for Fashion Law

Istituto Marangoni, in collaboration with the Saudi Ministry of Culture and the Saudi Fashion Commission, has announced the expansion of its academic programming at its Riyadh campus. Announced by His Royal Highness Prince Bader bin Farhan Al Saud, Saudi Minister of Culture and Chairman of the Fashion Commission Board, the institution will introduce full undergraduate degrees and postgraduate master's programs alongside its existing professional courses.

Applications opened on October 8, 2026, with the inaugural academic intake scheduled to commence in January 2027.

The expanded curriculum will feature undergraduate tracks in Fashion Design & Accessories, Fashion Communication & Image, and Fashion Management & Digital Communication. At the postgraduate level, the institution will introduce a Master in Fashion & Luxury Brand Management.

Additionally, the Riyadh campus has been officially designated by royal decree as an eligible institution under the Ministry of Culture’s Cultural Scholarship Program, enabling Saudi students to receive state financial backing for creative higher education.

This academic extension develops the operational groundwork laid by a 2024 memorandum of understanding between Istituto Marangoni and the Saudi Fashion Commission. The initiative aligns directly with the economic diversification targets outlined in Saudi Arabia’s Vision 2030 and its National Culture Strategy, which aim to reduce oil dependency by fostering local creative industries.

By embedding an established European academic model within the Kingdom, the partnership seeks to cultivate native talent, establish localized expertise in fashion management and design, and position Riyadh as a emerging regional hub within the global fashion ecosystem.

Design Academy Eindhoven will present its annual Graduation Show from 17 to 25 October 2026 during Dutch Design Week at Professor Doctor Dorgelolaan 2 in Eindhoven. Featuring more than 200 Bachelor's and Master's projects, the exhibition expands to four floors, introducing thematic pathways across its basement and gallery spaces alongside dedicated rooms for singular, world-building works. The return of the Arena provides a central forum for programmed discussions, workshops, and student-led debate, positioning the showcase as both a gallery of emerging talent and an active site for industry-relevant discourse.

This year’s graduate cohort focuses heavily on unresolved historical legacies, material residue, and systemic extraction, using sound, film, performance, and interactive systems to probe institutional responsibility and ongoing stewardship. In tandem with the exhibition, the academy has announced nominees for its Gijs Bakker, René Smeets, and Melkweg Awards, which recognize exceptional Master's and Bachelor's projects evaluated by an external industry jury. Winners will be announced during the opening ceremony, with each receiving 2,000 euros and a custom trophy created by alumnus Clara Schweers in collaboration with MAKE Eindhoven.

The showcase underscores a continued emphasis in design pedagogy on long-term commitment, iterative research, and critical engagement with material and social systems. To connect graduates directly with design professionals and institutional partners, the academy is running student-led guided tours, with a portion of proceeds directed toward funding DAE Alumni Association initiatives. By framing graduate work through themes of custodianship and systemic accountability, the institution reinforces the evolving role of design education in preparing practitioners to navigate complex contemporary industries.

Bath Spa University’s Future Fashion Works and A Single Thread CIC have launched a four-year sustainable fashion programme backed by The National Lottery Community Fund’s Climate Action Fund, aiming to reach more than 250,000 people across the UK.

Dubbed Restitch the Future, the programme will develop a network of community-led high street hubs designed to make sustainable fashion more accessible, while creating a playbook for communities looking to establish their own local initiatives.

The programme follows the latest edition of Sustainable Fashion Week (SFW), which ran from September 26 to October 4 and brought together more than 347 grassroots activities across 41 regional hubs. Organised by A Single Thread, the 2026 edition focused on ‘Threads of Resistance’, encouraging communities to challenge overconsumption through repairing, rewearing and repurposing clothing.

Restitch the Future will build on that existing network, with activities including clothing swaps, repair workshops, upcycling, youth programmes, campaigns and skills-sharing opportunities. It will operate 32 community hubs annually and establish a further five to eight hubs in underrepresented areas, including Scotland, Wales and Northern Ireland.

The programme will also use SOMER, Bath’s community-based sustainable learning environment, to test approaches including year-round clothing swaps, repair cafés and upcycling workshops that can subsequently be shared across the wider network.

Alongside the community activity, Bath Spa University will lead research into the barriers preventing people from engaging with sustainable fashion, including affordability, access, representation and skills. The research will examine what drives lasting changes in fashion consumption and how climate-conscious choices can become more inclusive and accessible.

The programme is intended to extend the type of community activity demonstrated through SFW beyond an annual event and into year-round local infrastructure.

Amelia Twine, founder of A Single Thread CIC, said sustainable fashion is “too often” perceived as “expensive, exclusive or unrealistic”, adding that Restitch the Future would make it easier for people to “repair, reuse and rethink clothing” as part of everyday life.

Tamara Parsons-Baker, head of Future Fashion Works at Bath Spa University, said the project demonstrates “the power of collaboration between universities, communities and grassroots organisations” to tackle climate change.

Elle International has partnered with Spain's to deliver a suite of accredited higher education programs in luxury brand management, fashion marketing, and visual merchandising. Offered in academic collaboration with Camilo José Cela University (UCJC) in Madrid, the initiative grants European-accredited qualifications, including MBA degrees, master's programs, and specialized certificates. The academic framework is structured to bridge foundational business theory with real-time industry operations across both digital and physical retail sectors.

The curriculum spans operational disciplines including luxury brand administration, fashion marketing strategy, digital communication, interior design, and styling. Instruction is delivered through a dual-track model, combining remote digital coursework with hybrid immersion tracks based at UCJC's Madrid campus. Through its university validation, the program offers standardized European Credit Transfer and Accumulation System (ECTS) metrics, allowing students to integrate technical and management training into recognized academic qualifications.

The venture highlights a broader trend of media conglomerates leveraging editorial brand equity to enter the higher education market. By formalizing academic oversight through accredited university partners, media-backed education platforms aim to address institutional skill gaps in luxury management, e-commerce, and digital communication, providing alternative talent pipelines for global fashion and lifestyle sectors.

Four international category winners have been selected for the 2026 Real Leather. Stay Different. International Student Design Competition, an annual global initiative sponsored by the Leather and Hide Council of America in partnership with Arts Thread. Representing institutions across Israel, the United States, Germany, and Vietnam, the finalists were chosen for design concepts that repurpose leather industry offcuts to challenge disposable fast-fashion models. The winners will compete for the overall title on October 29 at the Jim Thompson House in Bangkok alongside Thailand's national winner.

The selected projects prioritize zero-waste methodologies and local material traditions within footwear, apparel, and accessory design. Israel's Tal Zohar of Shenkar College won the apparel category with a leather-quilted jacket inspired by 1970s sportswear, while SAIC's Siang-Ying Lu secured the accessory award for a single-piece folded leather bag created entirely without structural cuts.

Germany’s Roscha Dinler won the footwear division by constructing shoes directly on lasts using scrap leather joined through techniques inspired by Japanese ceramic repair. Tran Trong Nghi Nguyen of Vietnam's Ton Duc Thang University received the People's Choice award, while host-nation winner Kittidech Chankraithong incorporated traditional Thai royal gilding into a collection exploring local transit culture.

The competition highlights a growing emphasis within global design curricula on material circularity, waste reduction, and traditional craftsmanship. By requiring students to work with industrial by-products rather than virgin textiles, such initiatives provide emerging designers with practical experience in sustainable supply chain integration and alternative material lifecycle management. For higher education institutions, these international platforms benchmark student technical skills against global industry standards while connecting academic research directly to international manufacturing and trade associations.

Spain’s Retail Textile Association (ARTE), an employer group representing major fashion conglomerates including Inditex, Mango, Primark, and Tendam, has entered a strategic framework agreement with ESIC Corporate Education. The alliance targets managerial and technical skill development across the fashion retail ecosystem, addressing critical talent retention and recruitment challenges in the Spanish market. Under the agreement, both entities will design tailored corporate training programs focused on high-demand operational areas, including digital transformation, supply chain logistics, e-commerce, customer experience, and sustainability.

The partnership grants ARTE member companies preferential access to ESIC executive master’s degrees, executive programs, and specialized professional seminars. Simultaneously, the institutions plan to co-host industry forums and collaborate on research examining European regulatory shifts, evolving consumer behaviors, and market digitalization. To enhance graduate recruitment pathways, the agreement incorporates joint initiatives to expose ESIC students and alumni directly to employment opportunities within the corporate fashion textile sector.

The initiative highlights a growing imperative among major European fashion conglomerates to institutionalize continuous learning in response to legislative, environmental, and technological pressures. As omnichannel integration and sustainability mandates increasingly dictate retail operations, academic partnerships of this scale serve to bridge executive education with real-time supply chain demands, ensuring that higher education institutions align executive curricula with current industry performance metrics.

Students starting a fashion business degree next year will graduate in 2030, into an industry that artificial intelligence (AI), sustainability pressures and shifting business models are still reshaping. That leaves schools with a fundamental question: what do you teach when nobody can yet say what half those jobs will be called? FashionUnited put it to programme leaders, teaching professionals and students at international fashion school ESMOD, which recently set up a Fashion & Luxury Skills Observatory to help answer it.

Judgement over tool fluency

AI is becoming less of a tool and more of a collaborator. For Bénédicte Fabien, Fashion Business Programme Director at ESMOD International, that shift fundamentally changes what fashion schools need to teach. It can analyse data, generate content, even contribute to creative and strategic processes. Paradoxically, she argued, those advances make human judgement more valuable rather than less, since tomorrow's best professionals "will not be those who simply know how to use AI tools, but those who know how to ask them the right questions."

The same emphasis on discernment over technical fluency runs through the classroom. Jean-Loup Rebours, Lecturer in Press Relations and Communication at ESMOD Paris/Pantin and founder of Paris PR agency FAXION, said writing skills most often fall short of employer expectations, as graduates increasingly delegate writing to large language models rather than practising it. Emmanuelle Silvestre, Lecturer in International Marketing, Retail and Distribution at ESMOD Lyon, addresses this by structuring assignments around three tiers of AI use, from none to full integration, treating it as a professional tool rather than a substitute for expertise.

That distinction already shapes how students work. Théo Defour, Bachelor Fashion Business student at ESMOD Lyon (2023 to 2026), uses AI to synthesise information while rigorously fact-checking sources, insisting the final creative decision remains his own. For Lolie Cornier, Bachelor Fashion Business student at ESMOD Bordeaux (2023 to 2026), the tool is only as good as the thinking behind it: without vision or sensibility, she said, AI "tends to produce fairly generic results." Both see AI less as a threat to entry-level work than as a filter, freeing them to focus earlier on the judgement calls machines cannot make.

When design and business stop being separate tracks

The traditional divide between creative and commercial roles is steadily disappearing. At ESMOD, Fashion Design and Fashion Business curricula have been converging, but Bénédicte Fabien draws a distinction: the school is not trying to produce individuals who are equally designer, marketer and buyer, but professionals who understand each discipline well enough to make them work in concert. The real risk today, in her words, “is no longer a lack of expertise, but the compartmentalisation of expertise.”

For the next generation, that hybrid mindset is already second nature. Margaux Dufour, Bachelor Fashion Business student at ESMOD Roubaix (2023 to 2026), described herself as creative in her thinking but business-oriented in how she acts, someone who turns ideas into structured, achievable projects. Théo Defour, by contrast, sees himself as a creative at heart who has built the strategic skills to give his ideas reach. Both, Bénédicte Fabien suggested, reflect a generation that has largely stopped thinking in job titles and organises its ambitions around projects and impact.

From module to mindset: sustainability

Rather than treating sustainability as a standalone subject, ESMOD embeds it across every discipline, from product development and sourcing to marketing and strategy. That approach is reinforced by dedicated CSR teaching, Earth Days and Fresque du Climat workshops, and a research partnership with the Chaire Tex & Care at the University of Lille. Bénédicte Fabien’s goal is for sustainability to become a decision-making reflex, on the same level as creativity or economic performance.

Whether the wider industry has reached that point remains open to debate. Jean-Loup Rebours argues that sustainability in fashion is still largely a marketing exercise, given how much clothing already exists. Emmanuelle Silvestre takes a more measured view, pointing to a decade of genuine initiatives alongside persistent greenwashing, some led by small businesses that fold before proving the model works. Either way, she stressed, graduates need to back up any sustainability claim with credible evidence rather than vocabulary alone.

What ‘employable’ will mean in 2030

Around 85 percent of graduates from ESMOD’s Fashion Business programmes secure industry placements, a figure Bénédicte Fabien expects to remain stable even as roles evolve differently by track: product and sourcing will need more strategic and international coordination, communication and image will shift toward differentiated storytelling as AI automates production, and marketing and retail will demand stronger data interpretation kept in service of brand strategy.

The ambitions of today’s students hint at what those careers may become. Visual production or art direction is where Théo Defour hopes to land, with freelancing as a fallback; he sees himself advising young musicians and designers on visual strategy, a role he doubts AI will ever fill. Lolie Cornier still wants to write for a fashion magazine, convinced the need to tell stories and build connections will outlast any job title, whatever form it takes by 2030.

If one idea ran through every conversation, it was this: the competitive advantage of tomorrow’s graduates will not be their command of AI, but their judgement. As Bénédicte Fabien put it, the priority is “the capacity to connect knowledge and exercise discernment.”

A new two-month research and creative residency in Milan is offering professionals and academics from the Visegrad region direct access to the Italian fashion supply chain. Open to applicants from the Czech Republic, Hungary, Poland, and Slovakia, the initiative provides selected participants with a 6,000 euro stipend to support living expenses, housing, and operational costs while undertaking tailored projects in the region. Applications for the residency remain open through October 15, targeting both traditional fashion practitioners and cross-disciplinary researchers seeking to examine Italian design and manufacturing models.

The program structures its two-month curriculum around independent research supplemented by structured academic coursework, industrial site visits, and institutional networking. Participants gain access to research facilities, including the Luigi Bocconi Library, along with specialized studio access and dedicated masterclasses covering textiles, fashion sociology, knitwear development, and contemporary art history. The itinerary incorporates visits to local museums, regional trade fairs, and specialized facilities, culminating in a dedicated educational excursion to the seat of AMC in Rome.

From an academic perspective, the program highlights a growing shift toward cross-border educational initiatives that bridge regional gaps between Central European talent and major West European production hubs. By admitting candidates from both fashion and non-fashion disciplines, the initiative encourages multidisciplinary methodologies, allowing institutions in the Visegrad countries to foster alumni expertise in sustainable supply chain management, material research, and international fashion economics.

Oxfordshire-based grassroots organization Cherwell Collective staged its third annual Sustainable Fashion Show at the Orangery at Blenheim Palace, serving as the local hub for Sustainable Fashion Week. The event presented over 50 runway looks constructed entirely from circular, upcycled, and sustainable materials to demonstrate practical solutions to global textile waste. By diverting more than 85 kilograms of waste from landfills, the event generated carbon savings equivalent to 6,500 car miles while engaging over 20 models across diverse ages, sizes, and backgrounds to promote inclusivity in sustainable design.

The showcase highlighted experimental material innovations and creative reuse strategies across 10 regional designer collections, including work from student designers at Activate Learning who upcycled discarded football kits to draw attention to synthetic sportswear waste. Other technical design solutions featured garments constructed from obsolete technology waste, deadstock fabrics, vintage household linens, and repurposed upholstery. The finale featured a floor-length patchwork coat engineered from secondhand plush toys. Attendees were given immediate access to purchase the runway looks online, with proceeds directly supporting Cherwell Collective's ongoing Carbon Cost of Fashion campaign.

For fashion education institutions and curriculum developers, the Blenheim Palace show underscores the growing necessity of integrating circular design methodologies, material upcycling, and waste metrics directly into design pedagogy. The inclusion of student work alongside established local organizations illustrates how academic partnerships with community-led sustainability initiatives can offer students critical real-world platforms to test alternative production methods. As the fashion industry faces heightened pressure to shift toward closed-loop manufacturing, events of this nature demonstrate how regional educational hubs can train future designers to balance artistic innovation with measurable environmental impact.

The Instituto Cervantes in Paris hosted the French premiere of 'El eco de otras voces', a documentary detailing the life and professional trajectory of Spanish fashion designer Adolfo Domínguez, on October 1, 2026. Directed by Adriana Domínguez, the firm’s executive president and daughter of the designer, the screening coincided with Paris Fashion Week and marked the 50th anniversary of the author fashion brand.

Produced by the Fundación Adolfo Domínguez, the film offers a comprehensive biographical document tracking Domínguez’s historical contribution to tailoring, from his early years in Ourense and time in Paris to his foundational role in shaping modern Spanish fashion aesthetics.

The documentary examines key milestones in the designer's career, including his revival of traditional linen and the creation of his famous "la arruga es bella" (wrinkle is beautiful) ethos during Spain's transition to democracy. Beyond reflecting on heritage, the premiere aligns with the brand's broader commercial and promotional strategy across key international markets.

France currently serves as the company's third-largest European market after Spain and Portugal, following a four-year period in which sales in the region grew by 102 percent across ten retail points. The Parisian event represents a single stop on an international 50th-anniversary tour that includes upcoming collection showcases in Lisbon and film presentations across Latin America.

For fashion educators and students, the documentary provides a case study in how heritage brands leverage cultural narrative and media archive to reinforce brand identity during major milestone anniversaries. By contextualizing Domínguez's material choices—such as unlined linen—against the socio-political shifts of late 20th-century Spain, the film illustrates the relationship between design philosophy, material development, and consumer culture.

Furthermore, the project demonstrates how luxury and designer labels utilize executive-led storytelling to bridge historical design legacies with international market expansion and long-term brand equity.

Graduate Fashion Foundation and Huddersfield-based cloth merchant Dugdale Brothers & Co have announced a regional tour across 15 UK universities to provide students with hands-on exposure to heritage textile manufacturing and responsible fabric sourcing. Commencing in October 2026, the tour will reach institutions from Cardiff Metropolitan University to Leeds University, offering emerging design talent direct access to industry-level tailoring expertise and fabric knowledge. The initiative marks an extension of Dugdale’s role as the founding cloth partner for the foundation's dedicated tailoring program, reinforcing efforts to bridge the gap between academic study and commercial textile production.

During the campus visits, participating undergraduates and faculty members will engage in knowledge-exchange sessions focused on material development, advanced finishing techniques, and sustainable supply chain practices. The 15 participating institutions—which also include Nottingham Trent University, Kingston University, and Manchester Metropolitan University—will receive curated fabric samples alongside practical guidance on integrating high-grade cloth into creative design workflows. By connecting students directly with the UK's last remaining independent cloth merchant in Huddersfield, the tour aims to demystify traditional manufacturing processes while promoting material-driven design methodologies.

The partnership highlights an increasing reliance on corporate-academic interventions to address skill shortages within the UK fashion and textile supply chain. As luxury markets continue to prioritize material integrity and traceably sourced textiles, early-stage technical education in fabric performance and tailoring becomes vital for entry-level designers. By embedding foundational manufacturing insights into university curricula, the initiative helps safeguard traditional British textile heritage while ensuring design graduates possess the technical literacy required by modern garment manufacturers and tailoring houses.

Kering officially inaugurated the first academic year of its Accademia per le Eccellenze on September 30, 2026, at the MIND Milano Innovation District. Led by Kering CEO Luca de Meo and Sabina Belli, President of Kering Italia and Head of the Academy, the distributed learning ecosystem welcomes more than 1,500 students enrolled across six Italian regions. Initially unveiled at the Gucci Archive in Florence, the initiative aims to bridge traditional Italian craft heritage with contemporary luxury sector demands through specialized vocational training.

The network consolidates existing training initiatives from Kering’s major Houses—including Bottega Veneta, Brioni, Gucci, Pomellato, and Kering Eyewear—in partnership with seven educational institutions, including ACOF, AFOL, Galdus, HModa Academy, ITS Cosmo, Istituto Modartech, and MITA.

Comprising over 40 distinct programs, the curriculum delivers approximately 62,000 hours of coursework and more than 22,400 hours of internships. Training spans traditional disciplines such as apparel, menswear tailoring, leather goods, and jewelry, while incorporating specialized modules on emerging technologies, artificial intelligence, sustainable materials, and textile restoration in collaboration with the Botticino Restoration School.

By integrating over 400 master artisans into a formal academic ecosystem, Kering addresses critical workforce sustainability challenges facing the European luxury sector. The initiative highlights a strategic shift toward corporate-backed vocational models designed to secure specialized talent pipelines, preserve regional manufacturing savoir-faire, and modernize traditional craftsmanship to align with evolving industry standards.

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.