Fashion Education Set Off Reform Trend. Designers Should Not Only Understand Design.

In recent years, many fashion brands have been rising rapidly, and the speed of their disappearance is also surprising.

The change or the designers' misunderstanding of the industry? However, this is a structural and complex issue of thinking. Let's listen to the designers and fashion education work, and also provide introspection to the young students who are considering the fashion industry.

Burberry creative editor Christopher Bailey is also a brand CEO, creating high performance and becoming a classic model of fashion education.

Patricia Romatet, director of market research and consultancy at French Fashion Institute, first put forward a long-standing problem in fashion industry.

Should designers be involved in the field of brand management? From Burberry fashion director Christopher Bailey to CEO at the same time, as well as the successful example of Alexander Wang's personal mastery of media marketing, the boundary is no longer so obvious.

Patricia Romatet, director of marketing research at IFM, puts forward that business and creativity are beyond boundaries.

Traditionally, designers are often isolated from business decisions, so that they are not distracted from creativity.

However, Romatet believes that such a demarcation is somewhat absurd today, after all, the brand is making a bet with the reputation of the designer.

First of all, a growing designer must first think of how to pform design into marketable goods, and learn how to protect himself. The understanding of financial management is the designer's weapon.

In the absence of law and commerce, designer brand is easy for investors, behind the scenes group to erroneous operation, and then to sell shares and so on.

This is hard to build.

For designers, it is undoubtedly the biggest harm.

This also goes back to the full discussion of the structure of the fashion education system. Romatet points out that fashion education institute is aware of the changing demand for talented people in fashion industry. However, not all schools have the ability to integrate business courses, and fashion colleges should not try to become a business trend.

Creative thinking and solid technology are the core of the Fashion Institute.

Burak Cakmak, Dean of Parson Fashion Institute, is based on personal experience. He believes that design students should pay attention to sustainable development.

Faced with the pformation of fashion education, educators in the front line naturally have something to say.

Like Burak Cakmak, the dean of the new fashion academy of Parsons, Parson stands out among many applicants.

What Parson sees is nothing more than Cakmak's experience in the fashion industry's participation in business and administrative decision-making for many years.

Since joining Gap in 2000, it has pferred to the Kering group in 2008 to take charge of its boutique business including Gucci, Stella McCartney and so on.

Cakmak will put sustainability in the first place of Parson's education policy.

Cakmak said that between Gap and Kering, she knew that both fast fashion and high-end products must face sustainability.

Although direction may be different, it can not be ignored.

Cakmak believes that the biggest goal of design is to let consumers like it, and to confirm that it involves priority of elements.

Cakmak runs factories, understands the process of producing garments, and finds out problems that may arise in their design.

Such a statement echoes the previous proposal that designers should be involved in business and creativity.

This is no longer a matter of particular importance, but an unavoidable consideration.

Cakmak wants his students to understand sustainability. The biggest goal is to cater to the tastes and goals of consumers, and persuade them to follow them. Even if they do not fully cater for them, they need to confirm the priority of the elements involved.

In addition, the new helmmakers of CSM and RCA two schools have thrown their thoughts on the wave of the industry.

Louise Wilson, Fabio Piras, who took over CSM's death course, took over the CSM fashion curriculum plan.

CSM was chosen first either in college or in master's degree.

In the face of this admiration, Piras says CSM graduates must understand one thing first, whether they are in the top fashion brands, or in popular and sports brands, and there are no good or bad points, the emphasis is on the original personality.

Piras, one of CSM's alumni, once worked as a creative director for 5 years in Brioni, an online shopping platform. She entered CSM in 1995 and worked with Louise Wilson as a tutor in women's clothing courses.

Piras often invites outstanding alumni to return to school speeches, exchange ideas, and objects are not confined to fashion design.

Prominent people are also one of their targets.

20 years of experience, watching students break in and out of fashion stage.

Piras's worry about fashion education is that students always go in the same direction.

It's like becoming a top designer, the next new name appearing in fashion week.

However, not everyone can become the next John Galliano or Christopher Kane.

Piras is the description of the current student situation, but the success of the fashion industry is not just about creativity, but also about the industry trend.

Students must know where they are in the industry and how they can contribute to it.

On the other hand, Zowie Broach, which is responsible for RCA courses, is to reverse the interaction between teachers' roles and students.

Broach has gone through many design institutes since last year, and has been the director of RCA fashion professional since last year, and is also one of the founders of Boudicca, an avant-garde brand.

Walking between creativity and education, Broach understands the desire of students to practice fashion creativity. She understands that fashion is a dream revolution.

Therefore, in the face of the discussion of fashion education wave, she only said that students should be able to find their own inner, her knowledge is not used to lead students, but to guide students to practice their own in a feasible direction.

Broach also says that every year they launch a program Across RCA for 1 weeks, and anyone who participates in it can give ideas. These students come from different professions, inspire each other and work together to create a viable creative concept.

Vivienne Westwood is to encourage young designers not to avoid imitation, and to grow from imitation is also a kind of learning.

Whether it is educators, designers or fashion media, everyone is looking forward to the birth of the next fashion genius.

But times are changing. The past standards of success and genius are not necessarily applicable now.

At the same time, the fashion industry is not just a designer. The change of fashion industry is not only the adjustment of students, but also the front-line workers. I hope we can encourage each other in these suggestions.