17 freshers on what they expect from the future of fashion
A wave of students is about to hit design schools in Paris, London, and beyond. We asked a handful how they feel about it.
With the world changing at dizzying speed – environmentally, politically, tariffologically – we wanted to know: what do the next generation of fashion students really think about the future of the industry they’re about to embark into? As this year’s freshers prepare to start their degrees across institutions like CSM, IFM, ESMOD, and GSA, we asked 17 of them to reflect on what lies ahead. But first, the news.
Anna Wintour gives her first post-EIC interview
Over the weekend, The New Yorker published a conversation between its editor, David Remnick, and Wintour, fresh off the back of the news that she’s stepping down as American Vogue’s editor-in-chief. Tl;dr, she discusses her bob (a reaction to getting a very bad haircut), the sunglasses (shortsighted and masks her boredom), the jobs she had at the beginning of her career (lots of good ones), and gushes about her sort-of replacement, Chloe Malle. There’s some gentle acknowledgement that Malle is not inheriting the same bastion of influence that Wintour did in 1988; Wintour makes a half-hearted attempt to frame the many tentacles of social media as something exciting rather than a complete drain on Vogue’s resources and power. Whilst describing the differences in their respective approaches as editors, Wintour describes Malle as a lover of fashion, “but not obsessed with it”, meaning she’ll be able to step back from a “fashionista conversation” and “look at things in a healthy way”. Whatever that means. She also endorses the plans Malle shared with The New York Times last week about shifting the magazine’s distribution from monthly to “collectible”, a tried-and-tested way of reframing what is ultimately a concession to diminishing print circulation (most smaller fashion magazines stopped following the Gregorian calendar in favour of the fashion calendar years ago).
Dazed and Renewed
In other magazine news, Dazed has just dropped a cover from their new issue, the first under editor-in-chief Ted Stansfield, following Ib Kamara's departure earlier this year. We’re excited to see a magazine captained by a longtime staff member. And Edward Enninful released his new magazine ee 72, with a Julia Roberts cover... sure!
Bad news for brands in India
A tax reform from Modi’s government has made cheap garments cheaper and more expensive brands …more expensive, concerning global fashion brands. Clothing priced below 2,500 rupees (£21) will have its levies cut to 5%, while anything above that threshold will now pay a levy of 18%. "Retail works on wafer-thin margins, and overheads like rents are extremely high," said the chief executive of a foreign garment brand operating in India to Reuters. "Growth that we were expecting earlier won't come now,” adding, "This is not a luxury. The 2,500-rupee price point is basic now." The Clothing Manufacturers Association of India told Reuters that this higher rate on apparel might be the "death knell for the industry". For any business that also ships to the US, the combination of this and Trump’s 50% tariff could be fatal.
Work and funding opportunities
Heritage Crafts’ Maker Relief Fund is reaching its final two months, offering 50 grants of £1,000 to practising professional craftspeople who are based in the UK, are over the age of 18, and meet one of the additional criteria listed on their website. Recipients will be identified from all the eligible entries received by midnight on the 15th day of each month, until October 2025 inclusive. Info here
Art Explora’s residency programme opens on 15 September, with winners announced in January 2026 for residencies from March to August 2026; June 2026 for residencies from September 2026 to February 2027. The programmes are open to artists and researchers of all nationalities, with no age limit. Eligible artists are those who can justify a minimum of five years of professional activity. Info here
TYPE01, a graphic design studio in London, is looking for a part-time mid-weight remote graphic designer. Info here
By Jorinde Croese
In a moment where algorithms shape culture, the retail landscape continues to shift, and identity politics increasingly intersect with aesthetics, we were curious whether incoming design students are entering their studies with eyes wide open – or with something more romantic in mind. The answers are diverse and surprisingly introspective. Some speak candidly about financial pressures, burnout, and systemic barriers. Others focus on finding joy, connection, and a creative voice. Together, they paint a layered picture of ambition, realism, and deep care for what fashion could still become.
Teesha Patel, Manchester, UK
Central Saint Martins, Fashion Design Womenswear
Favourite designer: Alexander McQueen
@teeshapatel_
What are your hopes and expectations for the next five years, both personally and professionally?
Personally, I want to stop getting in my own way. I don’t want the environment and pressure of being at a prestigious university to make me question my worthiness. I can’t let imposter syndrome win! Professionally, I’m going in with a completely open mind. University breeds innovation – there aren’t the same pressures to be commercial yet – so I want to take full advantage of that freedom and create whatever my heart (and bank account) desires.
What challenges or opportunities do you feel you’re preparing for right now?
Right now, I’m working on my final project, due in two weeks. Short deadlines seem to be the norm in both the industry and university, so I hope this is preparing me to work with a certain level of intensity. I’m also trying to be mindful of how sustainable I can be while creating – that’s important to me. For example, I’m currently using old VHS tapes to make a dress.
With so much change happening, what do you think the world – and the fashion industry – will be like by the time you graduate?
I can only hope the world is kinder to young people entering the job market after graduation, though I’m not too optimistic – especially with so many companies already using AI.
In the fashion industry, I’d love to see more women – especially women of colour – as creative directors at major houses. As a woman of colour myself, it can feel discouraging. Women make up a large percentage of fashion students, yet we’re still underrepresented in leadership roles.