CSM FASHION PLACEMENTS
Breaking the mould of the elite Euro-centric fashion industry.
The rationale for this research question stems from my observations and experiences of working as a course leader and senior lecturer on the Diploma In Professional Studies (DPS) programme over the last 3 years at CSM and previously LCF.
DPS is an optional pathway for student across 8 fashion BA (Hons) courses at CSM.
The course takes place in the 3rd year of student studies, after which students return to their studies for their 4th and final year.
Although it is optional, up to 85% of students elect to complete a DPS year. It is designed to be an integrated and assessed part of our students’ journey through their BA courses and results in a standalone qualification.
The purpose of the Diploma is to equip students with the practical knowledge and experience which will allow them to become informed practitioners in their chosen fields. It is an important first step into the industry and provides an opportunity to align personal career aspirations with the realities of working in industry.
On returning to complete their final year, students have a greater understanding of not only the industry, but themselves, their strengths, values, motivations and ambitions and armed with valuable life experiences and a renewed focus.
There are 2 DPS co-course leaders on the fashion programme at CSM (of which I am one). Together with my colleague we run the course.
We currently have 197 2nd year students who have “Opted-in” to do DPS for 2024-2025 academic year, and 167 enrolled 3rd year DPS students currently on their placement year.
I chose to research this topic and delve into this question because a large number of our students express a keen interest and complete placements predominately in Europe.
As part of my role as DPS course leader, I manage a 2nd year “preparation for DPS year” programme. I spend a large portion of my teaching time mentoring and conducting 1-2-1 tutorials with 2nd year students who’ve opted-in for DPS. During these tutorials we discuss things such as students career aspirations: Who they want to work for and where they want to work during the placement year. As part of our students 2nd year studies, I hold lectures and workshops on preparing students to work in industry and apply for jobs. I connect with external businesses regarding placements and share job opportunities with students. I also approve student placements requests and have clear visibility as to where and with whom our students secure placements with.
It is whilst getting to know our DPS students, their desires and motivations and reviewing their placement requests, I see a clear preference for placements in Europe and placements within world renowned luxury brands. If I held tutorials with 100 students, I could estimate that at least 80% would mention the same 5-10 brands as an aspirational goal.
The term Eurocentric is a worldwide view that focuses overwhelmingly on the vantage point of Western and European culture. It gives little attention or consideration to the values, experiences or contributions from Asia, Africa, and Latin America for example.
The origins of Eurocentrism in fashion dates back to colonialism, to the birth of the “West and the rest”, when clothing-based distinctions and hierarchisation were established (Baizerman, S., Cerny, C. and Eicher, J. 2008).
There is fierce competition amongst our students to land what are considered “prestigious” placements within high-profile brands, commonly based in London, NYC, Paris, and Milan.
Long considered the epi centre and leaders of global fashion. This in turn leads to a very Eurocentric ideal of what it means to have a successful placement and be a successful designer or brand in the fashion industry.
As a result, I’m sometimes faced with students who feel a deep sense of failure, underachievement and rejection if they do not secure a job within these brands or do not go to Paris, Mian or NYC. Sometimes, students feel like the options they were left with, are of lesser value in terms of prestige recognition and experience.
If securing a placement within a European brand is the benchmark of success, then we are validating them as the dominate culture.
As a result, I work hard to counteract these feelings and mentor students to be more positive and see the value in different experiences. And of course, manage their expectations!
Within the context of my role, and as a fashion department my question is… As fashion is a global industry, should we be more active academically, in preparing our students to work within a more global landscape outside of the realm of Europe? There is elitism within fashion, and this perhaps transcends into our student body, as it happens, some students at CSM find the institution itself elitist!
However, as indicated in the Business of Fashion report “The state of fashion 2024” (Amed and Berg 2023) In 2023 growth in the industry faced challenges, particularly in Europe and the US and the luxury sector has begun to feel the pinch.
Fashions emergent global markets include countries and continents such as Africa, India, The Middle East, South America and South East Asia.
Despite regional instability, the Middle East and Africa have markets that are set to reach $57.7 billion by 2024 in part due to the rising number of millionaires.
Africa has a fashion scene that is gaining more global prominence, with government institutions recognising the potential and committing to developing a more sustainable fashion system.
Thailand, Malaysia, and Indonesia are among countries in SE Asia emerging as luxury havens and fast becoming a focal point for fashion and luxury in Aisa. (You won’t believe where luxury fashion is heading in 2024!, 2024)
So, there are many aspects to consider when developing or encouraging even a slight shift in focus away from Europe.
In relations to the support of student careers within UAL, I work closely with our designated careers and employability practitioner who supports us with delivering career sessions. However, what is provided by UAL careers and employability team is very general and not specific to the field of fashion.
We have creative shift and deliver our DPS unit in alignment with UAL’s creative attributes framework. However, there is a need for more focused research in the specific area of fashion related placement attainment.
Within the creative attributes framework are very important aspects for student development, one of which is Life-wide learning.
Life-wide learning:
- Curiosity – the enthusiasm to seek out new perspectives, to create and build on existing knowledge.
- Resilience – the willingness to adapt and remain motivated, overcome obstacles, and deal with ambiguity, uncertainty, and rejection.
- Self-efficacy – confidence in their abilities, and the ability to respond positively in various situations.
The question for the above attributes is: In what ways does your course develop these attributes to help students resolve complexity and uncertainty as part of the creative process? (Guidance for Course Teams, no date)
Due to my experiences with students, I am keen for my research questions to take an objective rather than subjective approach, I plan to do this by limiting my references of luxury fashion and placements in Europe.
I would also like to develop an insight into the perceived barriers students face in developing a more global approach to their job searches and working with less renowned brands.
My research question/ questions are a result of wishing to better understand our student motivations and aspirations for placements in general, only then can I begin to extract some possible interventions from my findings.
References
Amed, I. and Berg, A. (2023) The State of Fashion 2024: Riding Out the Storm, The Business of Fashion. Available at: https://www.businessoffashion.com/reports/news-analysis/the-state-of-fashion-2024-report-bof-mckinsey/.
You won’t believe where luxury fashion is heading in 2024! (2024) NewsBytes. Available at: https://www.newsbytesapp.com/news/lifestyle/luxury-fashion-
market-growth-in-2024/stor (Accessed: 10 May 2024).
(Baizerman, S., Cerny, C. and Eicher, J. (2008) Eurocentrism in the study of ethnic dress. Fairchild Publications)
Brooksworth, F., Mogaji, E. and Bosah, G. (2023) Fashion Marketing in Emerging Economies Volume II. Springer Nature.
Is the fashion industry too Eurocentric? | Attire Media (no date) Attire | Conscious Fashion, Events & Resources. Available at: https://www.attiremedia.com/popular-brands/diversity-and-inclusion-in-fashion-is-the-fashion-industry-too-eurocentric.
https://www.arts.ac.uk/about-ual/teaching-and-learning-exchange/academic-enhancement/creative-shift
https://www.arts.ac.uk/students/student-careers
Guidance for Course Teams (no date). Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0025/37852/Creative_Attribute_Framework_Guidance_for_Course_Teams_PDF_2683KB.pdf.