The dynamics of the art world are ever-evolving: in today’s era of virality, microtrends, and instant gratification, for many an up-and-coming designer, the press and social media can create an illusion of support and/or success. London is rife with a number of formal art-based environments that offer an excellent platform for artists and designers to thrive. However, is it still possible to offer the elements that were once considered fundamental for a reputable art school like Central Saint Martins?

How, today, does one learn to become an artist or a designer? In the midst of a cultural landscape that is fragmented by the inundation of influencers and AI-illustrated, seven-fingered hands, what relevance do art schools hold in today's society? Is it possible to acquire an education in fashion even in the absence of nearby schools or during times, such as the past year up until now, when university art schools throughout the UK are shut down due to strikes?

As art evolves—branching out in diverse and interconnected ways on the one hand, while becoming more commercialised and hierarchical on the other—what changes will art schools make to keep up?

“For a creative, it is crucial to possess transferable skills and relearn existing ideologies; we must view education as an ongoing process instead of an era of our childhood,” says Fabio Piras, Course Director of the MA Fashion at Central Saint Martins.

In an article for Vogue, Sarah Gresty, Head of BA Fashion at Central Saint Martins, says she encourages students to “break down and relearn the rigid rules that were enforced in students’ previous education,” believing students must be encouraged to break free from the limitations of traditional, manufacturing-based education in order to reach their full creative potential. The crucial value of transitional programmes, such as the Art and Design Foundation Degree offered by CSM, is highlighted by Gresty.

There has been a recent uptick in the number of people enrolling in fashion courses all over the world. This can be attributed to the current state of the fashion industry. The industry is rapidly changing, and there are more opportunities now than ever before. Yet, despite the increasing popularity of fashion courses, the education system is still lagging behind in some ways. There is a lack of standardisation, and the quality of education varies from school to school.

A recent study by the Council of Fashion Designers of America (CFDA) and The Business of Fashion found that while fashion education prepares students for certain aspects of a career in the industry, there are many areas in which it falls short. In particular, the study found that fashion education does not adequately prepare students for the business side of the industry.

“I was following the particular ‘Central Saint Martins direction’ a lot, which is all about the creativity. I didn’t really think about selling; I didn’t learn that much from CSM.”

— A recent graduate who worked with two critically acclaimed designers without a degree before attending the Master's Fashion programme at Central Saint Martins in London.

“After graduation, I wanted to launch my own label – I’m realising how novel a lot of aspects are to me.”

Criteria such as personal well-being and ethics have become more important to students, which could pose a problem for the industry – working for a luxury group or conglomerate isn’t necessarily the dream job anymore. While the allure of heritage brands remains, increasing numbers of students from unis like CSM and LCF are forming their own collectives or brands and building careers outside of major fashion capitals like London.

One student designer was featured in a recent article by fashion publication 1Granary after they and a group of peers refused to take part in a live project with a global retailer.

“In the end we decided to stick to what we knew and loved best – designing.”

The designer spoke of the conflict between brands that preach sustainability, and yet are motivated by hyper-capitalism, explaining how whilst they and their peers valued sustainability and a sense of community the most, these “beliefs were contradicted by the consumer-centric attitude of the system”.

Their thoughts are indicative of an important aspect of the cultural zeitgeist: however necessary it is for students and their businesses to be adaptable, what are the ethics of educating students for a business centred around mass production?

Gresty (in the same Vogue article) goes on to elaborate how nearly “30 per cent of students now describe themselves as creative practitioners rather than fashion designers, with more pursuing art and activism over traditional roles.” The second-hand market has been boosted by the increased consciousness and deliberate decision-making among today's younger generation, which constitutes a significant portion of the contemporary youth culture. Students are currently demonstrating a greater level of interest in sustainability within the field of design compared to the past.

“I think that’s a bit of a generalisation. I have quite a few friends who still want to work at big brands. People want to go there because they want the paycheque. But at the same time, people do want to start their own thing – many people on my course take factors like sustainability into consideration,” says a BA fashion student at Central Saint Martins, whose viral designs on social media have been worn by a number of well-known names.

“My parents always say, ‘Once you start working, you don’t stop ‘til you retire. It’s true. I reckon this could be why some people choose not to go into high fashion brands, because the pace is very fast – driven by consumption, not creativity.”

It is understandably difficult to make a small independent designer into a sustainable business these days, especially considering scaling. Oftentimes, students are presented with a scenario where pursuing an expensive and competitive master's degree programme is touted as the sole means of not only building a viable career as an artist, but also being self-sufficient enough to open up your own brand – complete with gallery affiliation.

“I’m interested in starting a brand once I complete my education,” says a final-year fashion design and marketing student.

“I will definitely be pursuing a master's once I’ve finished my degree – I’m confident that, for me, it’s the best way to refine my practice and work on refining my voice and personal niche within design.”

As the working environment and capitalist culture continue to evolve, creativity has become a valuable commodity with economic implications. University of the Arts London is ranked 2nd in the world for Art and Design according to the 2022 QS World University Rankings, for the fourth year in a row. Yet a recent study by the Higher Education Statistics Agency (HESA) found that only 60% of fashion students at CSM were satisfied with their education and that many felt it did not prepare them adequately for work in the industry.

Hywel Davies, Programme Director of CSM’s BA Fashion course, says that the most fundamental changes to the school’s curriculum over the years have been “the engagement of climate, social and racial justice”. Design education is facing a significant amount of pressure to make everything measurable, stemming from management layers in education and beyond, including the state and industry.

Similar to others in our industry, we have observed that the current cultural climate prioritises practicality, quantifiability, aesthetic appeal, advertising, feasibility, and speed, which in turn stifles creativity. The creative process can be hindered by all of these things.

How exactly can/do we value the measure of an education in fashion? There is a risk of education becoming too focused mainly on practical aspects such as resources, curriculum, and recruitment, as opposed to personal criteria like personal, creative, and critical development.

When it comes to the question of how a fashion education can prepare students for the reality of a career in the industry today, there is no one-size-fits-all answer, as the success of a fashion education depends on the school, its faculty, and the students themselves. However, it is fair to say that a fashion education today is not what it used to be.

With the advent of social media and the fashion blogosphere, the industry is increasingly democratised, and the old hierarchy of fashion is breaking down. This means that there is no one right path to a career in fashion, and students need to be prepared to be self-starters and to be comfortable with uncertainty.

A good fashion education will give students the skills they need to navigate this new landscape, including a strong foundation in design, a working knowledge of business and marketing, and a good understanding of the latest fashion trends.

There are various ways to improve fashion education.

“The most obvious way is to provide more resources, such as funding and facilities,” suggests Marta Fritelloni, technician on the BA Costume Design course at LCF.

“In addition, more experienced educators should be recruited to teach fashion courses. The curriculum should also be updated to reflect the latest industry trends. Finally, students should be given more opportunities to participate in hands-on learning experiences.”

“There is a need for reform in the fashion education system,” adds Jorje Sandoval, Course Leader BA Costume Design LCF.

“This should include standardisation of courses and better quality control. Students and employers both stand to benefit from these reforms.”

In order for effective teaching to occur in schools, the focus should not solely be on students but also on the faculty.

“Many institutions tend to isolate their part-time faculty from the full-time faculty, resulting in a sluggish pace of change,” says Sandoval, in reference to the UAL faculty set-up.

Perhaps promoting conversations across different levels in collaborative environments can stimulate innovative thinking amongst educators regarding curriculum.

“Educators have the responsibility to filter out distractions, teach their students, and continue to learn from them,” says Piras.

“To find their unique voice in the world, a creative individual must first master the fundamentals of their practice. However, it is not solely the role of education to deliver this; it is also a personal obligation.”