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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fashion entrepreneurship starts before graduation

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

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

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

Technology changed the tools, not the fundamentals

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

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

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

Why emotional connection matters more than originality

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

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

Building visibility before building a company

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

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

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

The reality of funding and financial independence

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

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

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

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

Entrepreneurship and employment are not opposites

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

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

Brands that succeed understand their audience

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

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

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

The value of adaptability

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the Amsterdam Fashion Academy 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bridging education and industry

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

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

Craftsmanship and entrepreneurship at the core

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

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

A personalised approach to fashion learning

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

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

Preparing the next generation of designers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Get your tickets here

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

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

Practical Information

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

Centrale Markthal, Jan van Galenstraat 4 1051 KM Amsterdam

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

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

Fashion education toward conceptual runway formats

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

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

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

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

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

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

Front-runners

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

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

Microfactory

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

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

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

Global players

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

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

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

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

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

About the EU Legislation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Runway experiences as professional training

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

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

Supporting emerging designers through public platforms

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

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

Expanding definitions of fashion careers

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

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

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

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

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

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

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

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

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

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

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

Preparing students for a changing industry

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

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

Education grounded in professional practice

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

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

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

Mentorship, networking and lifelong learning

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

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

A broader vision of fashion education

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

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

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

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

Spotlight on fashion education across the UK

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

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

Beyond the runway

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

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

Experiential learning and industry preparation

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

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

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

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

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

Repair skills returning to fashion education

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

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

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

Connecting heritage and future fashion practice

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

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

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

Sustainability through practical learning

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

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

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

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

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

Introducing younger students to fashion careers

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

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

Expanding access to fashion education

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

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

Blending industry and education

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

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

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

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

Fashion education through hands-on experience

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

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

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

Building pathways into creative careers

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

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

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

Supporting the next generation of designers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sustainability becoming central to fashion education

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

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

International exposure for emerging designers

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

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

Education, collaboration and circular thinking

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

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

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

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

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

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

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

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

Submissions from 21 countries

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

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

AI as a tool, not a replacement

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

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

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

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

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

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

From creativity to strategy

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

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

The first 30 seconds: what really matters

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

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

Digital vs. physical: a dual approach

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

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

The role of technology and its risks

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

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

One portfolio doesn’t fit all

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

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

Can a portfolio replace experience?

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

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

Common mistakes that can cost opportunities

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

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

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

What defines a strong portfolio today

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

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

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

Rethinking how artists and designers are educated

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

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

Publications focused on learning through art

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

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

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

Influence on future creative education

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An international profile leading the London campus

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

Learning by doing and qualified education in dialogue with industry

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

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

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

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

New programmes and pathways for an international audience

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

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

Sustainability and innovation as educational drivers

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

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

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

Blurring lines between fashion, sport and technology

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

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

Digital retail reshaping curricula

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

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

Industry partnerships and career pathways

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

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

Preparing future talent

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

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

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

Focus on circular production

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

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

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

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

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

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

Expanding fashion education beyond design

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

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

Education as a pathway to economic development

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

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

Preparing future designers as entrepreneurs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Raising standards in fashion education

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

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

Aligning education with industry needs

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

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

Global outlook for future designers

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

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

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

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

Education through practice

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

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

Preparing future designers

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

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

Reflecting changes in fashion education

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

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

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

Education beyond the classroom

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

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

Creating alternative pathways

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

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

Supporting future designers

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

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

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

According to CCC, the initiative is intended as both a policy reference and a mobilisation tool, encouraging stakeholders—from educators and students to brands and policymakers—to engage with labour rights and climate action as interconnected issues rather than separate agendas.

Contributors to the manifesto emphasise that sustainability efforts must include fair wages, safe working conditions and worker participation in decision-making. Khalid Mahmood of Labour Education Foundation noted that environmental transition cannot be considered “just” without guaranteeing decent work and social protections, particularly in manufacturing regions.

Similarly, Alena Ivanova of Labour Behind the Label highlighted the need for broader structural reforms, including wealth redistribution and stronger welfare systems. Armin Šestić added that living wages are foundational, arguing that sustainability frameworks remain incomplete if workers continue to face poverty.

The manifesto proposes a series of principles for the industry, including fair distribution of climate transition costs, reduced overproduction, corporate accountability and the restoration of natural ecosystems. It also calls for stronger collective organisation and global solidarity across the fashion workforce.

For fashion educators, the initiative reflects a growing shift toward embedding social justice, labour rights and systems thinking into sustainability curricula. It signals that future industry frameworks are likely to demand not only technical innovation, but also a deeper understanding of policy, ethics and global supply chain dynamics.

Denim Première Vision will return to Milan’s Superstudio Più on May 20 and 21, 2026, marking the ninth Milan edition of the international denim trade event. Held under the patronage of the Municipality of Milan, the show will bring together more than 60 exhibitors from across the global denim supply chain, with strong participation from Italy and Japan.

For fashion educators, this year’s edition places particular emphasis on industry learning, collaboration, and emerging talent. Organisers said the event will deepen its partnership with Istituto Marangoni through student-led programming and technical workshops. Four exhibitors — Isko Luxury by PG, Advance Denim, Officina39, and Tonello — are scheduled to host sessions within the school, while student research projects will be displayed in the exhibition’s central pavilion.

On May 21, student Lolie Bernard is set to present What if this was enough?, a concept exploring authenticity and emotional honesty in design. The inclusion of student voices reflects a broader industry trend toward integrating education directly into sourcing and innovation platforms.

The exhibitor line-up also includes returning global suppliers such as Cone Denim and Arvind Limited, alongside new participants including Pakistani accessories producer Jawaid Bross. Organisers said the mix aims to provide a more complete sourcing offer spanning mills, garment makers, accessories, technology and services.

Sustainability remains central to the 2026 edition. Through a collaboration with the Dutch government agency CBI, the event will spotlight the “Circular Apparel Tunisia” project, which supports 18 Tunisian companies transitioning toward circular production models aligned with European market standards.

Another featured initiative, “Redefining Blue,” developed with Chloris, will present research into bio-based dyeing alternatives, including updates on Claessen Blue, the company’s flagship dye technology.

Trend forecasting will also play a major role, with the Denim Trends Forum offering insights into the Autumn/Winter 27–28 season. Conference sessions include forecasts from Première Vision’s fashion team and denim platform Denim Dudes, as well as discussions on worldbuilding, innovation, and consumer shifts.

For educators, the event may offer a live case study in how trade fairs are evolving beyond sourcing to include curriculum partnerships, sustainability research, and student visibility within the professional marketplace.

Harlem's Fashion Row and H&M hosted the 2026 Sustainability Forum on Earth Day, bringing together designers, executives and sustainability advocates to discuss how environmental goals and inclusion can shape the future of fashion.

Held on April 22, the event focused on sustainability as both an ecological and social issue. Opening remarks from Brandice Daniel emphasised that progress depends on intention, continuous improvement and ensuring underrepresented voices are included in decision-making across the industry.

Donna Dozier Gordon highlighted the brand’s ongoing partnership with Harlem’s Fashion Row, stressing the role of collaboration and community in advancing responsible business practices. Forum sessions explored multiple dimensions of sustainability, including large-scale operational change, ethics and accountability, circular fashion, craftsmanship and modern luxury. Other discussions examined how new technologies such as artificial intelligence and 3D design may influence future production models and career pathways.

A recurring message throughout the programme was that sustainability extends beyond materials or recycling initiatives, touching every part of the value chain from design and sourcing to labour practices, innovation and representation.

The event concluded with a call to continue equipping designers of colour with resources, access and professional networks as the industry evolves. For fashion educators, the forum reflects how sustainability education is increasingly linked with equity, digital transformation and entrepreneurship, offering a broader framework for preparing students for future careers.

The 2026 edition of Fashion SVP wrapped up at Olympia London yesterday with strong attendance from buyers, brands and manufacturers reported, alongside a continued focus on education and emerging talent.

A key feature of the event was the Designer of the Year Awards, an initiative recognising fashion students from across the UK. The judging panel was led by former BFC chairman Harold Tillman, with the award presented to Yiet Khan from the University for the Creative Arts.

Event organisers noted the “exceptional calibre of entries”, with the award continuing to gain recognition among fashion students and industry stakeholders.

The show also placed emphasis on skills development and innovation through its Innovation Hub, delivered in partnership with Arts University Bournemouth. The space featured technologies such as AI tools, VR workflows and digital product development, alongside presentations from industry practitioners including Holly New.

Across the two-day programme, seminar sessions addressed topics including sustainability, digitalisation and supply chain transparency. Natascha Radclyffe-Thomas, a professor at Ravensbourne University London, led a session examining the role of sustainability within commercial fashion models.

Event organisers said the 2026 edition reflected “growing demand for both technical knowledge and new talent pipelines” across the sector. Fashion SVP will return to Olympia London in November for its 20th edition, with an expanded exhibitor base and updated content programme expected.

PVH Foundation, the philanthropic arm of global brand management firm PVH, has committed 10 million dollars to a new programme designed to uplift and support next generation talent.

Set to run through 2030, ‘Runway Ahead’ will focus on facilitating mentorship opportunities, financial aid, and industry access for emerging designers and students. The investment was described by PVH’s CEO Stefan Larsson as a “responsibility” of the conglomerate to unlock access and create pathways for future fashion leaders.

The initiative is launching through two partnerships, including one with Harlem’s Fashion Row (HFR), which recently introduced an exclusive fellowship programme providing three selected designers with grants and support to create and present collections. The chosen designers will present their debut SS27 collections at HFR’s Fashion Show and Style Awards during New York Fashion Week.

A second partnership with the Council of Fashion Designers of America (CFDA) will similarly award three one-year scholarships to US-based design students, either senior undergraduate or first-year graduate levels, exploring how fashion carries meaning across time. The recipients will also receive access to PVH’s archive as well as ongoing mentorship and career guidance from the group.

CFDA’s CEO, Steven Kolb, said: “These scholarships are about giving talented students the space to grow, experiment, and define their voice. With the support of the PVH Foundation, we’re helping empower the next generation of designers to approach fashion with both creativity and purpose.”

New Designers, one of the United Kingdom’s longest-running graduate design showcases, has announced a new one-week format for its 2026 edition, reflecting the increasingly interdisciplinary nature of creative education and industry practice.

The event will take place from 1–4 July 2026, bringing together graduates from across the UK in a single unified showcase rather than the previous two-week structure. Organisers said the revised model is intended to create stronger collaboration between disciplines and make it easier for employers, recruiters and industry professionals to engage with emerging talent in one location.

For more than 40 years, New Designers has provided a platform for over 2,500 graduates annually to present projects to the public and creative industries. The 2026 edition will feature work from more than 100 undergraduate and postgraduate courses spanning fashion, costume, textiles, jewellery, furniture, product design, illustration, digital arts, UX and game design.

Focus on career readiness

At the centre of this year’s programme is ND Educates, a talks and workshop series designed to help graduates transition from study into employment. Sessions will focus on commercial awareness, professional skills and industry expectations, giving students practical knowledge alongside creative exposure.

A dedicated education-focused programme will also bring together tutors, university leaders and employers for seminars and networking sessions examining current challenges in design teaching and skills development. Initial discussions will focus on jewellery, silverware and hand-skills training, with potential to expand into other disciplines in future editions.

Fashion and creative disciplines under one roof

For fashion students, the new integrated model offers greater visibility alongside adjacent sectors such as textiles, digital design, product development and crafts. This mirrors current industry realities, where future designers are increasingly expected to collaborate across technology, sustainability, branding and production disciplines.

By combining exhibition opportunities with employability training and academic dialogue, New Designers 2026 highlights how graduate showcases are evolving beyond end-of-year displays into platforms that support education, recruitment and long-term career development.

The United Nations has launched the next phase of its sustainable tour guide uniform initiative, expanding a fashion-education collaboration that places students and circular design at the centre of institutional workwear development.

Announced in New York on 28 April, the programme follows the 2025 debut of new uniforms created by students from the Swedish School of Textiles. According to the UN, this marked the first time a fashion school had led the design of its tour guide uniforms, with sustainability embedded throughout the process.

The newly announced phase will focus on accessories, with students from Central Saint Martins and the Swedish School of Textiles invited to develop additions to the collection. The initiative is being coordinated through the UN Office for Partnerships alongside the UN Fashion and Lifestyle Network and other collaborators.

For fashion educators, the project highlights how live industry briefs can connect students with global institutions while addressing sustainability, functionality and public-facing design challenges. It also demonstrates growing demand for interdisciplinary skills, combining garment design with systems thinking, branding and responsible sourcing.

The original collection was designed with input from UN tour guides and included garments intended to balance inclusivity, practicality and environmental considerations. Materials, production methods and gender-neutral design principles were among the stated priorities.

As universities increasingly seek partnerships that offer real-world experience, the UN initiative may serve as a model for how education providers and institutions can collaborate on socially visible, sustainability-led fashion projects.

London is full of emerging creative talent. From major fashion schools to independent designers, new work is constantly being created. Finding space to present the work publicly is often the real challenge.

Traditional fashion venues typically come with barriers: cost, hierarchy and strict expectations that shape how work is presented. For many young designers, getting collections out of the studio and into the public eye remains difficult.

Founded by Vogue College of Fashion master’s student Sterling Latham in collaboration with peers Kaki Huebner, Emily Crowe and Shannon McCarthy, Rogue Runway provides emerging creatives access to spaces where they can present their work.

The idea is intentionally simple: there’s no brief, imposed theme or expectation to conform.

Designers provide their collections, and Rogue Runway supplies photographers, music and an audience of students, creatives and industry insiders. The result is less a conventional runway and more an open, immersive environment where movement, interaction and spontaneity shape the experience.

Rogue Runway’s Debut Show

Set inside the iconic Glasshouse Stores in Soho, London, Rogue Runway’s debut show was brimming with an exciting and inviting energy.

Guests stood throughout the space, moving around the collections as they unfolded and dissolving the traditional separation between runway and audience. The show felt active rather than staged, aligning with the platform’s emphasis on fashion as lived experience.

Each designer had a different approach. Tailored pieces appeared alongside experimental silhouettes, accessories-based concepts were placed next to deconstructed garments, and some presentations moved fluidly between fashion and fine art. Without a unifying theme, the differences became the structure of the show.

This lack of imposed direction is central to Rogue Runway’s identity. The space provided each collection room to flourish. The result felt less like a meticulously staged show and more like a shared moment shaped by multiple perspectives.

Abe House And the Language of Craft

Opening the show was Imogen Downey, founder of Abe House. Downey studied bespoke tailoring at London College of Fashion before moving into fashion design at the Amsterdam Fashion Academy.

Instead of creating something entirely new for the show, she brought together pieces spanning the brand’s history. Downey describes it as less of a “collection” and more as a continuation, something that she’s been building over time. The pieces sat harmoniously next to each other, and each look gradually merged into the next.

That approach carries through in how she talks about her work. There’s no real interest in chasing newness for the sake of it. What matters more is consistency. She builds a language that slowly develops through fabric, construction and repetition.

British heritage is apparent, but it’s subtle. Her use of deadstock wool reinforces a focus on material and how it holds shape over time, with attention placed on longevity.

Reflecting on the show, Downey describes a change in perspective: “It was amazing to meet so many new people and see Abe House in a completely different environment. Watching the pieces come to life on the runway and seeing people’s live reactions was very special.”

Folded And the Afterlife of Print

Bell Johnson and Brynlie Grantland’s project moved in a more object-based direction. They presented Folded: a series of one-of-a-kind clutches made from archival print magazines.

At a time when most fashion media is consumed digitally and print magazines feel increasingly distant, Folded returns to the physical. The magazine is no longer just something you flip through but something you can hold onto. Fragments of imagery and text are reworked into objects that feel both familiar and new.

“We wanted to revive the original magazine clutch in a way that felt more personal. Folded is about celebrating fashion, curiosity and the cultural significance of printed archival magazines.”

Each clutch is designed with care and delicate craftsmanship, resulting in a collection of unique clutches that imbue the source material with new life.

Moodi Studio and the Modern Woman

Moodi Studio, founded by Mersedeh Heydari, took a narrative approach to the runway. The collection is inspired by the modern day woman: ambitious but forced to navigate social pressure and identity in her daily life. The collection is grounded in observation, capturing how identity changes in real time.

Heydari explores the idea that the woman who is composed in one setting is also unguarded in another. “The woman who closed a deal yesterday is also the one who let loose last night,” she explains. “A woman’s sparkle never disappears; it’s just rearranged.”

This concept is the foundation of the collection. The pieces are tailored but delicate. The silhouettes are structured yet fluid, and nothing feels too fixed.

Some pieces feel slightly undone, as if they’ve already been worn throughout different moments in the day. Heydari’s concept sits in that in-between space, where everything has structure but isn’t rigid.

Chloe Wing and Fine Art in Fashion

Closing the show was Chloe Wing, a fine artist invited by Rogue Runway to present her hand-cut pieces. Although her work has been shown in art contexts before, this was her first time presenting it within a fashion setting.

Everything in Wing’s collection is cut by hand, drawing on years of practicing her craft. Through her work, Wing explored fashion’s relationship with light and shadow—more specifically, what is revealed and what is concealed.

Through close inspection, you can see that her garments are constructed with multiple sheer layers, each one partially covering the next. From a distance, the pieces feel complete, but as you move closer, details begin to shift. What sits underneath becomes just as important as what is visible on the surface.

“The layering is really about what you choose to reveal and what you hold back,” Wing explains. “I’m interested in how something can be present yet never fully visible.”

Certain parts of the pieces are exposed, while others are softened or obscured. As the pieces move, they catch the light differently, at times becoming almost transparent before returning into view.

Wing’s work reflects her journey as an artist. She began in fashion, moved into fine art and has now returned to fashion on her own terms.

Because of that, the work doesn’t feel like a reference or translation. It feels like both practices meeting in the same place.

Creating Access for Emerging Designers

What Rogue Runway’s first show made clear is the importance not just of giving designers visibility but of how that visibility is offered. The platform allows work to be shown as it is, whether complete or still in progress.

There’s also significance in the way the platform operates. As a platform built by students and young creatives for new designers, Rogue Runway inherently provides a range of people in the industry an opportunity to acquire experience and a launchpad for their careers.

Rogue Runway does not attempt to define what emerging fashion should look like. That openness is central to its identity. It allows new voices to develop on their own terms while positioning fashion as something lived, immediate and connected to the city around it.

Explore MA Programs at Vogue College of Fashion

Students at University of the Arts London’s London College of Fashion have unveiled a collaborative project with adidas and the Stephen Lawrence Day Foundation to honour the legacy of Stephen Lawrence.

Titled The Market, the project was created by scholarship recipients from multiple courses across the college and explores the market as a shared cultural space where communities meet, exchange and connect. Students involved in the initiative come from backgrounds including Ghana and Brazil, using the concept to reflect on common experiences of community life and belonging.

The project was conceived by Ezra Alexander Pusey and Emmanuel Danquah. A capsule collection was designed by Lucian Blanchard using reworked adidas garments in the foundation’s colours of orange, black, grey and white. The looks were designed around everyday market characters such as shoppers, florists and runners, with photography and collage used to capture movement and expression.

According to adidas, the partnership aims to widen access and opportunity for young creatives who have historically been underrepresented in the industry. The scholarship programme is now in its second year and supports students across fashion design, photography, creative direction and marketing.

For fashion educators, the project highlights how scholarship initiatives can extend beyond financial support into collaborative learning experiences that combine storytelling, brand partnership and social impact. It also demonstrates how live projects can encourage interdisciplinary teamwork while connecting students’ creative practice to wider cultural and community themes.

Dutch Design Awards has announced the jury for its 2026 Emerging Talent Award 2026 following the opening of nominations during Milan Design Week. The award recognises early-career designers whose work demonstrates critical thinking, innovation and future-focused practice.

The 2026 jury will be chaired by Borre Akkersdijk and includes Imruh Asha, Gabriele Chiave, Karin van Gilst, Afaina de Jong, Christian Luiten, Nalden and Hussein Suleiman.

According to organisers, the jury brings together perspectives from fashion, architecture, art, media and entrepreneurship to assess designers contributing to a more connected and internationally relevant design landscape. Akkersdijk said the group reflects the need to create conditions in which a new generation can grow, collaborate and redefine the role of design.

The programme is inviting nominations from the design community for emerging practitioners with strong vision and critical perspectives. Designers may self-nominate or be nominated until May 15 through the awards platform.

Dutch design week 2026

Finalists will be announced this summer as the Class of 2026 and will take part in Dutch Design Week 2026, scheduled for October 17–25 in Eindhoven. During the event, participants will join a shared programme focused on recognition, exchange and professional development.

A total of 30,000 euros in grants will be awarded to three winners, supported by Keep an Eye Foundation, which backs emerging creative talent. For educators and students, the initiative offers another example of how design awards are increasingly positioned not only as recognition platforms, but as tools for mentorship, visibility and career growth.

The British Fashion Council (BFC) has revealed the names shortlisted for this year’s BFC/GQ Designer Fashion Fund (BFC/GQDFF). The designers selected for the coveted prize are Clothsurgeon, Derrick, Harri, and Labrum London.

The winner of the fund is set to receive a 100,000 pound grant prize, as well as a year-long mentorship with an industry leader, legal services from Sheridans, and access to a network of specialist advisors.

This year marks the first in which Murray Clark, senior style editor of GQ, will co-chair the award alongside the BFC’s new chief executive officer, Laura Weir.

In a statement, Clark said the initiative has served as a “prime activator for some of the most remarkable names in menswear”, adding that the “prize has never been more powerful” amid the continued “ascendancy” of London Fashion Week.

Weir added that the chosen designers “represent the creative excellence that defines British fashion today”. She continued: “Through the fund, we are focused on sustained support to help designers build resilient, future-facing businesses.”

While running since 2013, this particular edition of BFC/GQDFF comes at a notable time for the BFC, which last month unveiled its new ‘BFC 2030: Access, Creativity, Growth’ strategy, pivoting the organisation’s efforts from designer promotion towards more tangible support.

BFC/GQDFF serves as a pillar of the strategy’s Prizes and Programmes segment, designed to bolster platforms that nurture and strengthen the commercial resilience of creative excellence.

At the crux of the strategy is the overarching mission is to replicate a blueprint laid down by British designers that have already garnered international success, such as that of Wales Bonner, Bianca Saunders, and Craig Green, notably all prior winners of the BFC/GQDFF.

IED Milano has introduced artificial intelligence into its fashion curriculum through a new partnership with Modelia, reflecting a broader shift in how digital tools are being integrated into design education.

The collaboration sees Modelia’s platform incorporated into the second-year Fashion Design programme, where students are using AI to translate creative concepts into fully realised visual outputs. The initiative includes a 20-hour seminar focused on AI in fashion, combining early-stage ideation tools such as ChatGPT and Gemini with Modelia’s production capabilities to create digital runway presentations.

According to the institution, the aim is to address a growing challenge for emerging designers: not only generating ideas but presenting them with a level of visual execution that meets industry expectations. By using AI tools, students can develop and refine concepts into professional-standard imagery, even when working with experimental or unconventional designs.

AI as a support tool

The programme positions AI as a support tool rather than a replacement for creativity. As noted by faculty member Paola Pinna, the technology enables students to realise complex ideas more effectively, while still relying on original thinking and design direction.

For educators, the initiative highlights a wider trend toward embedding AI literacy into fashion training. With visual communication and speed of production becoming increasingly central to the industry, tools like Modelia are being framed as part of the evolving skill set required for future designers.

The partnership also reflects a strategic alignment between education and industry, as institutions such as IED Milano—part of a broader international network of design schools—seek to prepare students for a sector where AI is becoming a practical component of workflows, from concept development to campaign creation.

Denim Première Vision Milan 2026 will return to Superstudio Più on May 20–21, bringing together industry professionals, educators and students to explore developments shaping the global denim sector and upcoming Autumn/Winter 2027–28 trends. Held under the patronage of the Municipality of Milan, the ninth Milan edition aims to combine sourcing, education and research-driven dialogue relevant to fashion teaching and curriculum development.

More than 60 exhibitors from across the international denim supply chain are expected to participate, with strong representation from Italy and Japan. The line-up includes returning companies such as Cone Denim and Arvind Limited, alongside first-time participants including Jawaid Bross. Organisers note that the sourcing offer will span mills, garment makers and suppliers of accessories, technologies and services, providing insight into the full production ecosystem.

Education-focused programming is central to this edition, particularly through collaboration with Istituto Marangoni. Technical sessions hosted by exhibitors such as Isko Luxury by PG, Advance Denim, Officina39 and Tonello will take place within the school environment, while students will present research projects at the exhibition. A student presentation by Lolie Bernard, titled “What if this was enough?”, is scheduled for May 21 and will explore themes of authenticity and emotional honesty in design.

Sustainability and circularity are also key themes, highlighted through collaboration with the Centre for the Promotion of Imports from Developing Countries on the “Circular Apparel Tunisia” initiative, which supports Tunisian companies transitioning to circular production models aligned with European standards. Another project, “Redefining Blue,” developed with Chloris, will present developments in bio-based dyeing technologies, including the Claessen Blue dye, alongside research findings shared during a panel discussion. The event will also pay tribute to the late Adriano Goldschmied, with collections created for Pioneer Denim in collaboration with Soko displayed in a dedicated area. Organisers describe the showcase as highlighting approaches to sustainable denim development and craftsmanship.

For educators, the Denim Trends Forum and conference programme offer structured insights into future design directions and technological developments. Sessions include forecasting presentations by Amy Leverton of Denim Dudes, discussions on worldbuilding in fashion with Shanu Walpita and Cait Monahan from Hypebae, and seminars from the Première Vision fashion team.

Additional initiatives such as the “Underrated Project,” developed with designer Kristian Guerra, will present experimental denim garments exploring hybrid materials and evolving silhouettes. Together with trend forums and technical showcases, the programme positions the event as a learning environment for educators seeking to integrate sustainability, innovation and supply-chain knowledge into fashion curricula.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If my students took just one mindset from my classroom into their careers, I would hope it would be critical curiosity.

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

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

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

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

Explore MA Programs at Vogue College of Fashion

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

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

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

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

Denim Première Vision hosts over 60 exhibitors from around the world

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Public procurement presents opportunity

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

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

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

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

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

Rewriting Leicester’s reputation

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

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

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

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

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

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

A new generation and capabilities beyond fast fashion

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

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

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

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

Building trust through transparency

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

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

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

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

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

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

About Leicester Made & Regions 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Key recommendations outlined in the guide include:

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

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

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

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

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

From making to giving meaning

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

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

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

Technology as an accelerator, not a starting point

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

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

Intersection of digital and tactile

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

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

Cross-over as new reality

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

What this requires of creative professionals:

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

Different way of training

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

Students learn to:

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

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

Beyond industry

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

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

About the author:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From Observer to Insider

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

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

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

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

What the Clothes Represent

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

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

Learning the Industry From the Inside

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

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

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

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

Development Through Experience

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

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

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

A Film That Still Speaks

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

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

Explore Vogue College of Fashion programs

GIFs via Vogue College Editorial; sourced via GIPHY @foxhomeent

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

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

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

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

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

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

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

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

Obtaining internships: a central lever for professionalisation at LISAA Mode

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full Circle

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

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

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

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

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

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

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

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

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

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

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

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

Big brand collaborations

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 2026 finalists are:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Application details

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

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

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

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

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

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

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

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

Ideas into products

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Styling: the architecture of the visual narrative

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

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

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

Marketing and promotion: negotiating shared meaning

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

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

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

A global classroom for ‘off the board’ candidates

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

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

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

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

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

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

Partnership between education and businesses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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