Fashion design graduates from one of Sweden’s most respected and valued design schools, Beckmans College of Design, recently showcased their collections. The results of their studies that were sent down the catwalk gave a promising look on the future. Although each collection had its own distinct style and approach, a common tendency emerged. Scandinavian style, often defined as simple, clean and crisp aesthetics seems to have been replaced by a less commercial and more ”maximalistic” perspective. The well detailed and conceptual pieces were reminiscent of the point of view often seen on European mainland, rather than the simple aesthetics that Scandinavian style is commonly identified with.

Hanna Björklund Olsson is one of the many talented and creative designers graduating from Beckmans College of Design this Spring. Her approach is inspired by the balance between elegant and more rough aesthetics and she is often working with different surfaces and materials. Her work challenges the notion of wearability – while the designer takes everyday use in consideration in the process of creating, she also states that it does not necessarily have to mean that her pieces are functional.

Another interesting upcoming designer is Annika Lunneskog. Interested in fashion as a balancing phenomenon often inspired by its opposing forces, Lunneskog works with unique surfaces created by manipulating fabric and using progressive cutting techniques, combining exclusive materials, like leather, with more unusal fabrics. While Beckmans College graduates often tend to focus on the visual and creative part of the design process, designers such as Björklund Olsson and Lunneskog have been able to develop their unique personal approches seen. When their work is positioned within a wider perspective of classic Scandinavian minimalism, it becomes an alternative modern classic – a maximalistic minimal aesthetics.

The main focus of the school lies in the different aspects of design – IUAV and design are two words that walk hand in hand – and it’s interesting how this perspective to the world of arts and architecture can benefit the fashion students of the school. “The question of how a strong design profile can benefit our fashion students is one of those questions that already contains its answer. In Italy it’s not customary to find a public university which deals with the theories and practices in fashion design, but IUAV is the place where this is happening and honestly, it’s the only place where I can imagine where it’s possible to make such a thing happen.”

Venice, and Treviso, where the fashion campus is located, are world known cities even though they have never been considered as ‘classic’ centres of fashion. So for a school educating people that have to enter the industry, how can the IUAV compete with the schools located in cities that have ‘full access‘ to the fashion industry? According to Frisa, being at the periphery of things gives the IUAV the chance to experiment, to find new ways of doing things, to invite new faces and new designers to contribute to a project. Of course, during times such as during the Biennale, Venice becomes an important centre, for instance of the Prada Foundation. “Recently we had Yoko Ono visiting us for an open lecture and an exhibition, and even she felt that there is a lot of things happening in Venice! A lot of people meet here for various reasons and this privileged atmosphere should be treasured and preserved.”

The IUAV does not only work with the creative part of fashion but also offers several theoretical courses, and as Frisa herself works as a curator, we took a moment to speak about where she sees space for theoretical professionals in the fashion industry. “Museums, galleries and cultural institutions for sure, both in Italy and internationally. But since I consider fashion one of those creative industries which now have the duty to redefine what we are used to consider as “Made in Italy”, curators and thinkers with a specific profile on fashion design will be useful and are actually requested by industries and production teams. People with a theoretical fashion basis can bring innovative visions on what’s happening now and on future possible scenarios.” On the other side of the IUAV fashion programs, there’s the fashion design students, who graduated last month with their final shows. “The BA Graduation show was brilliant” says Maria Luisa Frisa. “They were encouraged to explore their own inspirations and imageries trying to find a new idea of pattern making, which considers the idea of mistakes as a source of innovation, while the MA show was much more experimental and a true performance curated by Kinkaleri.”

Coming from a place which combines theory and practice in an environment that might bring other influences than the big fashion cities, what is the most important thing for the students to bring with them out in the world of business from the IUAV? “The athmoshpere of our community: the idea of teamwork that we always experiment with during all the ateliers, and the idea of self-curating their own project. They need to consider the design process as a whole, which starts from research and getting ideas and ends with the presentation and staging of the project.” She speaks about freedom to experiment, but also to make mistakes, as an element that a creative school needs to provide for its students, in order to make them grow. What regards her answer for the standard question of a tip for people looking for a career in fashion, Frisa replies: “Two words I’ve recently used as a title for a lecture done during the Europeana International Fashion Conference in Florence: talent and discipline.” Two words that conclude the series well.

The question is interesting, when coming from an art school itself. Central Saint Martins brought up the discussion in a moment when art and design education have been facing a hard time, and by that CSM communicates that the need to deliver a clear answer to what art, fashion or design education actually brings to the students, society and industry, is greater than ever. They highlight the point that fashion – or art – education is becoming more exclusive but less diverse. So how does a school like Central Saint Martins, famous for not being only exclusive and of high quality, but a school that graduates talent, after talent, after talent, create a diversity different from the competitors?

At Central Saint Martins everything is gathered under one roof: art, product and industrial design, drama and performance, fashion, textile and jewelry design, graphic communication and all the other courses on all levels that fit into the culture of CSM. According to the school itself, their approach to art and education is curious and may result in a challenging, but never dull, journey. Without saying that boundaries were made to be broken, in the world of Central Saint Martins they were at least made to be explored. The courses at the school, located in the midst of London’s bursting creative scene, have a strong connection to the actual practice of the industry. The approach of the teachers, which often seems to take colour on the students, is forward-looking and always on the edge, bringing the school to be one of the ones always standing in the forefront of the discussion.

Like for any school that seems to be able to produce great talent, it’s hard to pinpoint how, what, and why they succeed. Maybe it’s the approach, maybe it’s the experience, maybe, and most probably, it’s the combination of a certain structure and vision created by the school. An approach that dares to ask if art school is necessary, an approach that encourages people to be brave and to do what they love.

“It might sound banal, but we must rely upon the past to make the future. One great lesson of Italian fashion is to base creativity upon functionality, as a reason for the beauty of a garment. I do think this is of crucial importance to move forward to the next design paradigm and overcome the current crisis”, says Sara Azzone when we start talking about Italian fashion, the school’s heritage and the concept of Made in Italy. Continuing to speak about Milan as a student city she says: “For both Italian and foreign students, Milan is one of the few places in Italy offering an international and complete perspective on the world of design. This means two things: as for business, collaborations with renowned companies, multifaceted job opportunities and contacts with a myriad of people who belong to this world; as for fashion design, the opportunity to have a daily contact with fashion along with a real perception of what it is, in order to use it as a tool for personal and professional growth.”

Annaluisa Franco continues: “IED is not ‘just’ a fashion, design, visual arts or management school. The co-existence of these departments truly creates a community of fresh-minded people that learn a transversal approach to the current job market and have multiple skills.” As for what Florence brings to the table she replies: “IED chose Florence mainly for the accessibility that Florence and Tuscany offer to the design fields. Many of the best-known Italian companies worldwide produce, design and sell their goods in Tuscany first. This is particularly true for fashion and high-level design brands. The connection with the region, with the know-how and high quality of artisanal works is strong. It’s a dynamic situation that brings great benefits to the students. Not only are they immersed in the cultural heart of Italian Renaissance, though rich with inspiration, but they are also close to a lot of small, medium and large companies.”

Both Franco and Azzone mention a strong relation between the different IED campuses but point out that each IED city maintains its identity, strongly connected to the culture and society of the country. A student won’t find the same undergraduate or master program in more than one location, however, the benefits of being an international network facilitates exchanges between campuses. All the IED venues also work with a variety of teachers coming straight from the professional world. “It’s fundamental” says Annaluisa Franco. The school uses an experiential, applicative and hands-on didactic approach, in which teachers who simultaneously works for companies within the industry become important. The students are given an every-day-view of the working world, where the true challenges, as well as solutions, can be discussed. “Professionals may take teaching classes to improve their in-class presence but if you’ve never worked in the professional world, you will end up having nothing to teach about.”

Sara Azzone agrees. “What makes the difference, of being a ‘good’ fashion school, is the capacity to prepare your students to face the demands of this world by training them as true professionals and giving them the opportunity to be constantly in touch with people working in contemporary fashion.”

“At the risk of sounding blasé – the world is not what it used to be”, comments Franco when the discussion goes towards the difficulties of the business of today and the changes of an industry in constant progress. “What attracts people in fashion has changed, often these changes are still overlooked and non-defined. To only offer ‘fashion design’ when the industry is looking for social media experts, CAD-CAM modeling know-how or eco-innovators doesn’t make sense. The jobs and figures in the industry are new and therefore we, on the educational side, have to create a structure for something that others don’t know how to ask for yet.”

During its almost 50 years of existence, Istituto Europeo di Design has built up a dynamic and interconnected system – effective and stimulating and a place where its students can create their first network of connections. So, what is the recipe for success in a business that only seem to become tougher? “Read, watch, listen, talk to people, absorb as much as you can – there is no other way to be successful. Do not be afraid to express yourself – and of course, work hard.”

Linen Yarn is the special project and exhibition put together by some of the most promising students from the three schools. Each school has been able to translate their universe and take on the linen yarn into a small collection shown in a common space during Pitti Uomo 84: menswear design with a dedication to linen, to promote a new and creative attitude to the fabric. The students from CSM brought the Englishness to Florence and presented a deconstructed and casual male silhouette inspired by the British heritage while the IUAV students present linen as an elegant option, playing with the codes of men’s evening wear. Polimoda – who more than being present at la Fortezza has also been busy with its own fashion week over at Villa Favard – showed linen inspired by the various ethnicities of Europe: volumes and forms were accompanied by prints and decorations.

Pitti Immagine has since 1972 been an important platform for men’s clothing and accessories as well as the fair and events around it are famous for being the place where many new menswear projects have been launched: for many young designers, Pitti is a starting point to something larger – a springboard, or stepping stone, to the world outside the atelier.

This method generated very different fashion reflections that move from the role and nature of contemporary aesthetics, to introspective speculations, passing through commentaries on the technicality of fashion design. 
Among all these creations, it is possible to admire the architectural geometries by Lisa Laurell Amandonico who works on minimalistic and classical shapes sewn together by a sort of white spinal bones connections, or Alina Brane’s impressive “Dreamward” where plastic and feathers are constructing dream-like enclosures. To be notice also the collections by Per Gotesson, Emmy Andersson and Lamija Suljevic. The first formulates an experimental discourse on shapes and materials through the construction of a contemporary pirate, while the second mixes extraordinary accessories with clean cuts that, to some extent, resemble the work of Ann Sofie Back. Impressive were also the work by Slijevic who created hand-weaved gold ribbon armors and hand-folded hats made of PVC sequins and clear rhinestones.

Indeed, Beckmans’ students show how schools are not only places of individual sufferance and struggle but also incubators where critical creativities are formed, shaped and developed. Discipline and creativity walk hand in hand in fashion design and they are crucial skills especially in the attempt to enter the fashion field in these hard days for the market. However, to use the words of the departing director Tom Hedqvist: “Tough times can, at best, bring about the formulation of constructive ideas. At best”.

When The Blogazine had a chance to talk to the staff and insiders of London College of Fashion we asked why London should be the city to study in. “London has so much to offer its fashion and arts students – world class museums, renowned commercial galleries to small artist-run exhibition spaces. The mix of international landmarks and major department stores in contrast to hidden markets, small boutiques and designer studios make students thrive in the London environment – there is inspiration everywhere!”

Other than the privileges that the city itself offers, LCF is one of the most well-connected fashion education institutions in the world. In an attempt to stay in the forefront of things, LCF has in recent years worked to expand the thinking behind fashion as a discipline – the college aims to both challenge and support an industry that depends on rapid change and consumption. When studying at London College of Fashion you are being confronted with areas such as health, sustainability and ethical design as well as with the science around the latest digital technologies.

Being a school that has more than 100 years of history and claims that the one thing certain for the next coming 100 is that they will be at the centre of things, we had to ask about the school’s thoughts on the current situation in the industry that constantly goes on high speed. “Social media will continue to increase the speed of fashion, both in terms of communication and commerce, although we are now also seeing a counter trend for slow fashion and an increased appreciation for traditional media. At LCF we are working to prepare our students for the complexities of the fashion industry by providing both traditional and digital skills and knowledge.”

“We teach using a variety of communication methods and tools: face-to-face communication, printed media, video, online discussion groups, webinars, social media, blogging and offline presentations. We also try to ensure that the pace of our teaching and assessment reflects that of the industry. Just as fashion has moved from a monologue to a dialogue, so too is this reflected in our teaching as we involve both students and the industry in our curriculum and assessment design.”

Industry relationships, cutting-edge research, new technologies and a great interest in its students – the list of what a high-end fashion school should offer its students could be made long. At LCF the priority lies in providing the students – no matter if they’re in the field of becoming designers, buyers, journalists, managers, stylists or any other degree possible to pursue at LCF – with the relevant tools to successfully forge a career within the fashion industry. “We thoroughly prepare our students for the world of work by helping source employment opportunities, internships, placements and projects relevant to their requirements. This often makes a profound impact on their career development.”

It’s hard to deny London its voice of say in the fashion industry and often pioneering ways of adapting to a business in change, and London College of Fashion is one of the schools that are trying to build a unique learning experience in order to produce the creative leaders of tomorrow. “People looking for a career in fashion should make the most of all the opportunities available to them.” – as far as we’ve understood, London seem to be just the right city to catch those opportunities.

Looking at the history, the school’s (fashion) popularity started in the early 80’s when the fashion department resided under the wings of Mary Prijot, and it was during that time when names like Ann Demeulemeester, Dries Van Noten and Martin Margiela were formed to skilled designers. Today’s Head of the Fashion Department, Walter Van Beirendonck, also attended the school during this hot 80’s period, and by the looks of it, he has carried some of the past into the future.

As in most academic educations a subject is looked at from the perspective of the society, and so also in Antwerp. Clothing is not only about the quality of fabrics, cuts and seams but also reflects on where the society is moving, and questions it. Not putting the creative quality aspect aside, The Royal Academy of Fine Arts provides their students with a creative artistic atmosphere: during four years the fashion students also share the halls with painters, sculptors and graphic designers and looking at the outcome they all seem to influence each other. The students at the academy are though always encouraged to find their own voice and not to mimic what their predecessors already did, as innovation and experimentation are two highly valued aspects. Surely many students choose Antwerp Royal Academy of Fine Arts as their destination of education for the fame that lingers in the school halls, just like many probably are attracted by the fact that it’s here that known concepts are being turned 360° and back again. What regards the school’s location, Antwerpen feels near, yet so far from the rest of the industry, that it seems like the set-apart position on the map could entice as well as discourage future applicants. Whether it’s the name of the school, the name of previous graduates, the creative atmosphere or the city, it only seems natural that the younger generation of Antwerpian designers would channel what foregoes them and keep on bringing the academy forth.

Maybe it lies in the strong focus on innovative creativity or maybe Mary Prijot’s 80’s blueprint for the fashion department set the standard – whichever the case, the Artesis Hogeschool Antwerpen has been one to watch over the last 30 years, and an uncrazy guess is that it will remain on the same list for another upcoming 30.

A centre of excellence always in close relation to the business world – since 1986, Polimoda International Institute of Fashion Design & Marketing has been internationally renowned for its high-quality professional training and lately also for its beautiful location at the Villa Favard in Florence. Design, patternmaking, marketing or communication, undergrads, postgrads, masters, orientation or specialisation courses: they offer it all. With 55% of the 1200 attendees, the Polimoda student body also confirms the statement of eager fashion enthusiasts going across frontiers to attend a special, chosen, fashion program. The positive adjectives around a renowned school are many, especially with front faces carrying names such as Ferruccio Ferragamo and Mrs. Loppa herself, but why should one choose Florence and Polimoda?

“Many students come from big modern cities with shopping malls and arcades and yet here, they find a creative tranquility where they are able to reflect on their future careers and find inspiration!” Linda Loppa mentions heritage from moments such as the Renaissance and the uniqueness of the small historic city as impacts on the way one thinks and works. “Obviously we cannot forget Italian brands such as Gucci, Pucci & Ferragamo that represent the dream and signature of Italian fashion, and Florence that offers a beautiful and stimulating environment, but the main reason to come here really is the high quality of education. Our communication, messages, website and business languages are all modems that positively project brand strategy.”

The Blogazine also spoke with a student from the Fashion Marketing & Communication program about being a student at Polimoda. “I had heard a lot of positive things about the school, and after researching other Universities in Milan, I decided that Polimoda is the best in my field. It’s not only a University but also a career centre and a brand – their brand image is impeccable. When I say I’m a Polimoda student, people are impressed.” The student mentions that her education has helped her narrow down her choices of interest for her future career and says that some courses might be more useful than others, but that her program in the end feels relevant to what a profession in the industry will require. “They want us to succeed, because when we do, Polimoda does too. However, it is a two-way street: as students we can boost the school image as well as we can ruin it. They are very careful in which students they present to external companies for internships.”

Besides a long list of completions, Mrs. Loppa grew up in Antwerp, another city well known for forming fashion excellence. About how the city might affect her management at Polimoda she says that her mature strategies aren’t so much dependant on one city’s influence as it is because of all her previous experiences together. “I have been in fashion a long time and worked in many different aspects of the industry: from retail to education, worldwide distribution and also museum management and curating. What I learned from all this wonderful experience I felt, and still feel, can be easily translated to Polimoda, through my directorship.” Looking at the more academic programs, Linda Loppa means that the importance of an education directed specifically towards fashion lies in the complexity of the business: having a lot of tools isn’t enough to communicate fashion, it also takes a lot of skills, research and understanding of this specific business. “The fashion business is more complex than 10 years ago. Branding, communication, design, production, distribution and store management have to be well balanced for the end consumer. That’s why when studying one of these facets, it still has to be seen in a broader context.”

As for almost any industry of today, the expressions of new media, digital PR and social media are everyday encounters, and no matter what position you aim for, the social sphere has added another aspect to the pace of the fashion industry. “Well, if you work in the fashion business, this speed is not unusual. Therefore we are used to work and think ahead. Thanks to the Internet we are updated on every change that happens in the world and as a consequence our faculty challenges the students to work in the business of tomorrow, not the business of today”, says Loppa when discussing the matter. What regards following a path in fashion she finishes by saying: “A good fashion school should offer its students the technique to develop a personal opinion based on knowledge, and an open mind-set and intuition will help develop an interesting career.”

At Polimoda you find an international and modern direction and maybe it is somewhere in the clash between historical buildings and modern technology that the charm of the school, as well as the fashion industry, lies.

This year Ventura Lambrate sees the return of some of its already established appointments, like the one with Cos, once again presenting their pop-up shop this year designed by Bonsoir Paris. On the other hand, some other well-established companies have sensed the appeal and particular reputation of Ventura Lambrate, moving their stands away from the centre of Milan, like Established & Sons whose polished and eclectic furniture creates a quite strong contrast with the surrounding shows. Another (fashion) design giant has turned to Ventura Lambrate: we are speaking of Diesel, who has also created a special restaurant in the zone in collaboration with Amaro, named The Diesel Social Cafè Club.

While the popularity of the zone is attracting established design companies and thus, potentially, putting in question its role as hub of young and independent design talents, the presence of some of the most interesting European design schools surely brings it back on the ‘research’ track. You can see the works of Royal College of Art graduates that range from contemporary furniture, to interactive installations, to more narrative-based pieces, “all aiming to challenge the perception of design and provoke a change that would fundamentally shape our future world”. On the other hand, the provocative young designers of Design Academy in Eindhoven have concentrated on the process of designing, explored with the exhibition “Linking Process” whose goal is to reveal the beauty of creation putting on display the “phases of concept development, trial and error, sketching, building and rebuilding, and the new discoveries” that result from that processes.

Hopefully the sudden appeal of Ventura Lambrate won’t spoil its denomination as place of research, investigation, critical approach and speculation which the overcrowded corporate design world so much needs.