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Applying to college is a moment full of possibility, excitement and, undoubtedly, a little apprehension. But if you’ve decided on a career in fashion, choosing where to study can feel quite complex. Fashion schools are broad in their courses, pathways and approaches, offering many options for those keen to enter the industry. Some encourage radical experimentation or specialize in craftsmanship, while others arm students with the skills needed to run a business.
With new courses emerging every year amid a rapidly evolving industry, the key is finding a college that doesn’t just reflect your values, but where the teaching, community and facilities can best nurture your ambitions. Imagine yourself pioneering a new sustainable material? Joining a historic French maison? Becoming the editor of a magazine? Or launching your own digital platform? There’s a place for everyone, but it all comes down to making the most informed decision for you.
To help you square up the options ahead of January’s application deadlines, we put together this comprehensive guide to 10 of the best fashion schools in the world — covering everything from fees and requirements to words of wisdom from faculty and notable alumni.
Fashion schools:
- Bunka Fashion College
- Central Saint Martins (CSM)
- The École Supérieure des Arts Et Métiers de la Mode (ESMOD)
- Fashion Institute of Technology (FIT)
- Institut Français de la Mode
- Istituto Marangoni
- La Cambre
- London College of Fashion (LCF)
- Parsons School of Design
- Polimoda
- Politecnico di Milano
- Royal Academy of Fine Arts Antwerp
- Royal College of Art (RCA)
- Savannah College of Art and Design (SCAD)
Bunka Fashion College
Bunka has a history unlike any other fashion college in Japan. Founded in 1919, it started in Isaburo Namiki’s women and children’s dressmaking shop in Tokyo (early students learned to sew on the shop’s machines), only to become Japan’s first certified fashion institution four years later. Today, Bunka is known for both its future-facing courses and the visionary talent it has produced, including Yohji Yamamoto, Junya Watanabe, Undercover’s Jun Takahashi, and Nigo. Underpinned by precise, method-driven teaching rooted in both Japanese and Western design practices, courses are rigorous, with students gaining a deep grounding in technique and construction.
For those wanting to immerse themselves in Tokyo’s distinctive fashion landscape, developing a foundation in craft as well as concept, Bunka offers an education unlike anywhere else.
Academic: High school graduation or equivalent.
Portfolio: Varies by course, often includes drawings or design work.
Additional tasks: Entrance exams for many departments.
Annual tuition: $8,100 to $9,400 (fees vary by year and department)
International fees: Additional $65 per semester
BA Fashion Design
BA Fashion Technology (Apparel Engineering / Pattern-Making)
BA Fashion Business and Distribution
BA Global Fashion Professional Program
Yohji Yamamoto, Kenzo Takada, Junya Watanabe, Nigo, Tsumori Chisato, Ryota Iwai.
“[Bunka teaches] individuals to create new forms of beauty and culture through textual and visual expression. We strive to develop an advanced integration of practical education combined with theoretical education through thesis writing. The MA Global Fashion Concentration program at Bunka Gakuen University in Tokyo encourages students to academically explore not only theories and aesthetics rooted in Western thought, but also non-Western aesthetics from diverse regions, while organically bridging this theory-based research with the creation of collections and other practical projects.” — Yoko Takagi, MA Global Fashion Concentration program director
“We expect research proposals to reflect the motivation and creativity to resolve existing problems within the fashion field. We expect candidates to possess a broad base of academic knowledge, including an understanding of the global environment and its historical development, as well as technical skills.” — Takagi
“My time at Bunka was truly invaluable. In my view, what sets Bunka apart is its unwavering dedication to fundamentals. It’s one of the rare fashion schools where you truly learn the function of clothing, its history and the technical, almost artisanal skills required to turn creative ideas into reality. Creativity at Bunka is built on craftsmanship, not just concepts. I often meet graduates from other schools who were never even taught how to draft a basic sleeve pattern. Before learning how to communicate fashion as an image, designers need a precise understanding of the foundation — and Bunka makes that foundation non-negotiable. That depth of technical training is what truly distinguishes it from other programs.” — Ashlynn Park, designer and founder of Ashlyn
Central Saint Martins (CSM)
Central Saint Martins (CSM) houses arguably the most influential fashion department in the world. Known for launching the careers of Lee McQueen and John Galliano, it has a long tradition of championing conceptual, boundary-pushing work and encouraging students to forge their own creative paths through avenues of storytelling, politics and culture. Its BA and MA courses across womenswear, menswear, knitwear, print, journalism and fashion communication are also known to be strong, with courses continually adapting to reflect changing industry — from sustainability to fashion image and promotion.
What makes CSM unique is its personal teaching approach, with industry-leading tutors closely attuned to the interests and ambitions of each student. And with the best-attended BA and MA graduate shows in London, for anyone dreaming of a slot on the fashion week schedule, CSM is one of the strongest places to start.
Academic: A-levels or equivalent.
Portfolio: Pathway dependent, but may include sketchbooks, research, 2D and 3D work, and developed garment ideas.
Additional tasks: Interview depending on pathway.
International: Equivalent high school qualification, portfolio, proof of English, visa documentation.
UK residents: £9,535 per annum
International: £29,990 per annum
BA Fashion Design (Womenswear / Menswear / Knit / Print / Communication)
BA Fashion Communication (Journalism / Image
Promotion / Histories
Theories)
MA Fashion
MA Fashion Communication (Fashion Journalism / Fashion Image / Fashion Histories
Theories)
Lee Alexander McQueen, Stella McCartney, John Galliano, Phoebe Philo, Grace Wales Bonner, Craig Green, Kim Jones, Molly Goddard, Charlotte Knowles and Alexandre Arsenault, Kiko Kostadinov, Simone Rocha.
“CSM is an art school. The focus is not clothing. It is about teaching students the confidence and the knowledge to be able to develop an intelligent, well-researched concept that will be presented around a body. We like to see students who have individuality and potential. They do not need to be able to sew or even draw yet. We will teach that. We do want them to be curious, have many interests and a certain passion.” — Sarah Gresty, BA Fashion course leader
“In order to prepare, it is important to research the course. Who are the tutors you will be working with, why do you particularly want to study with them? Who has graduated from the course, does this work suit your interests and ambitions? It is also important to be clear why you want to study a particular course, this is one of the main questions at the interview.
I see my role as a facilitator rather than a traditional top-down font of all knowledge. Courses have been developed to be world leading by drawing on the knowledge and experience of the outstanding academic and technical staff at Central Saint Martins, but I believe that the knowledge and experiences within the CSM fashion community of both staff and students are what makes studying at CSM truly unique.” — Adam Murray, MA Fashion Image pathway leader
“CSM was a place to experiment without worrying about final outcomes. I arrived there unsure of what I wanted to do, but the freedom to try, fail and rebuild taught me to trust my instincts. That mindset of embracing uncertainty and process became the foundation of how I approach my work today.” — Craig Green, eponymous designer
“CSM was a place where I could develop my intuition and throw things at the wall and see what stuck, which I think is so important as a young creative. It was also a place I found great like minded people, people who were so different in their ways of thinking. It helped me expand how far I could see my own work going.” — Jawara Alleyne, eponymous designer
The École Supérieure des Arts Et Métiers de la Mode (ESMOD)
Founded in 1841, ESMOD is the world’s oldest fashion school and remains one of the most influential. Based in Paris, it has built its reputation on a rigorous approach to fashion design, pattern cutting and garment construction, alongside a strong understanding of the business and cultural forces shaping the industry. Today, ESMOD’s teaching spans design, creative direction and fashion management, with a distinctive hybrid model that brings creative and strategic thinking together. Its graduates include some of fashion’s most recognisable designers — from Manfred Thierry Mugler to Alexandre Vauthier — as well as founders and executives shaping the industry behind the scenes.
ESMOD is perfect for anyone seeking a strong hybrid approach between design and business, with teaching rooted in the school’s history as the oldest fashion school in the world.
Academic: High school qualification (or equivalent) for undergraduate entry. Relevant undergraduate degree or professional experience for postgraduate programmes.
Portfolio: Required for fashion design and creative programmes. Expected to reflect creative identity, cultural awareness, and technical potential. Business programmes may focus on academic background and a written statement.
Additional tasks: Interview and creative or written assessment, depending on programme.
Annual tuition (BA): €12,790-€14,850 (fees vary by programme and year)
International fees: Included in tuition
Additional costs: Mandatory academic packages (€255–€1,080), application fee (€95)
Annual tuition (MA): €13,895-€17,375 (fees vary by programme and year)
International fees: Included in tuition
Additional costs: Mandatory academic packages (€255–€441)
BA Fashion Design (Styliste Designer Mode)
BA Fashion Marketing
Communication Strategy
MA Creative Direction for Fashion
Creative Industries
MA International Fashion
Luxury Brand Development
Alexandre Vauthier, Dice Kayek, Franck Sorbier, JUUN.J, Manfred Thierry Mugler, Lisa Chavy (Livy), Sophie Hersan (Vestiaire Collective), Elise Girault (Cachí).
“ESMOD is the world’s oldest fashion school and has built its educational model on a unique combination of heritage, innovation and excellence. Our Art, Culture and Heritage Department is a centre for academic and cultural research, with over 1,500 historical pieces and archives used as study resources. For more than 35 years, ESMOD has also developed a dedicated Fashion Business School, specialising in product development, merchandising, creative marketing and innovative management. The strong hybrid approach between design and business enables us to train profiles that are both creative and strategic.” — Véronique Beaumont, COO, ESMOD
“We expect candidates to fully embrace their point of view, dare to offer a personal interpretation of the world, and demonstrate the ability to develop a distinctive creative signature rooted in a strong artistic culture. What truly makes the difference is the courage to think differently, the confidence to step beyond established frameworks, the ability to connect emotion, vision, and responsibility — and the desire to become a committed creative force shaping the future of fashion and the creative industries.” — Jacques Drujon, fashion business academic director, ESMOD
“My studies at ESMOD were a truly enriching experience. I spent two years at ESMOD Rennes before completing my third year in the New Luxury Couture programme in Paris. I had outstanding professors, including Gilles Rosier, who helped me push my creative vision further and innovate in the way I develop ideas. My studies enabled me to develop my own aesthetic, but above all, they taught me how to sustain a strong and demanding work pace.” — Elise Girault, founder of Cachí
Fashion Institute of Technology (FIT)
The college’s strengths in sportswear, knitwear, accessories and the business side of fashion are supported by technical training that reflects how products are actually made today — from digital pattern-cutting to production workflows and material innovation. Many faculty members work in the field, shaping a curriculum grounded in real-world skills, and alumni like Calvin Klein, Michael Kors and Norma Kamali have each praised the Fashion Institute of Technology (FIT) for providing them with professional foundations that many other universities overlook.
FIT is a standout choice for students who want an industry-facing education, plus its status as a public institution part of the State University of New York (SUNY) makes its fees far more accessible than others. If you want hands-on training and early exposure to internships, this is a smart place to start.
Academic: High school diploma or equivalent.
Portfolio: Includes a written essay, two design projects and a sewn garment project.
In-state: $7,170 per annum
Out of state: $21,692 per annum
AAS Fashion Design
BFA Fashion Design (Sportswear / Knitwear / Intimate Apparel / Special Occasion / Childrenswear)
BFA Textile and Surface Design
BFA Footwear and Accessories Design
BS Fashion Business Management
BS Cosmetics and Fragrance Marketing
MFA Fashion Design
Calvin Klein, Michael Kors, Norma Kamali, Peter Do, Daniel Roseberry, Francisco Costa, Bibhu Mohapatra.
“FIT Fashion Design instructors are practicing professionals and leaders in their areas of expertise, bringing extensive real-world experience and the latest design practices directly into the classroom. Their active engagement in the industry ensures that students’ learning is relevant, up to date, and aligned with the dynamic demands of fashion and design. Faculty also connect students to a powerful network of professionals and industry partners invested in their success. FIT is one of the top institutions in the nation for placing graduates in NYC. Eighty-six percent of recent working FIT alumni are employed in New York state, and 90% of them are working in New York City.” — Su Ku, BFA Fashion Design chair
“Applicants shine when they tell their own stories clearly and consistently across all application materials — from the essays to portfolios. We love it when we look at an application and get a clear picture of a designer and how they want to make a positive impact in the world through fashion.” — Cathleen Sheehan, Chairperson and Professor, Fashion Design MFA Program
“This school gave me the foundation to build the success and the business that I was able to build. I owe it to FIT.” — Calvin Klein, eponymous designer (provided by FIT)
“My time at FIT was both demanding and transformative, pushing me to balance intuition with technical skills while constantly questioning my own perspective. Being surrounded by such strong peers taught me the importance of patience and confidence in trusting my creative voice. Through my MFA, I learned to treat fashion as a form of storytelling, where emotion, research, and craftsmanship are inseparable. That understanding gave me the confidence to launch Clara Son as a brand rooted in post-gender expression and timeless design, guided by personal narrative rather than trend cycles.” — Clara Son, eponymous designer (provided by FIT)
Institut Français de la Mode
If you have dreams of contributing to the history of a historic French maison, Institut Français de la Mode might be the university for you. Founded in the 1980s with the backing of the French fashion industry, the Paris-based school was created with the mission of incubating a new generation of “masterminds” to lead textile, couture and prêt-à-porter houses into the future. Its alumni include creative directors such as Nadège Vanhee-Cybulski (Hermès) and Myriam Serrano (CEO, Alaïa), as well as countless in-house designers working behind the scenes at leading French brands.
In 2019, IFM merged with L’École de la Chambre Syndicale de la Couture Parisienne, the legendary couture school founded in 1927, where Yves Saint Laurent, Karl Lagerfeld and Valentino Garavani learned the savoir-faire of couture-making. Closely tied to the body that decides which brands qualify as true haute couture houses (the Chambre Syndicale de la Haute Couture), the course’s teaching is synonymous with exacting standards, rigour and artistry required to work in an atelier.
Across its many pathways, IFM offers an education in French luxury fashion from the inside out — from the unfettered glamour of couture week to the business structures behind the juggernauts of global luxury.
Academic: High school qualification or equivalent for BA courses. Relevant undergraduate degree or equivalent professional experience for MA courses.
Portfolio: Required for design and couture pathways. Expected to demonstrate conceptual thinking, technical ability and research. Business programmes will prioritise academic background, CV and personal statement.
Additional tasks: Selective admissions process including interviews and, for some courses, practical or analytical tests.
EU students: BA courses cost approximately €15,600 per year.
International students: Between €23,900 and €28,900 per year, depending on the programme.
BA Fashion Design
BA Management for Fashion and Creative Industries
MA Fashion Design
MA Luxury Management
Craftsmanship Programme (Required to work in Haute Couture)
Chambre Syndicale de la Haute Couture: Yves Saint Laurent, Karl Lagerfeld, Valentino Garavani, Issey Miyake, André Courrèges
IFM: Guillaume Henry (Patou), Lucie Meier (ex-Jil Sander), Nadège Vanhee-Cybulski (Hermès), Myriam Serrano (CEO, Alaïa), Jeanne Friot
“Located in Paris, a global capital of fashion and luxury, IFM uniquely combines creative design, management, and craftsmanship within one institution. The school is known for its close ties to the fashion and luxury industries, offering students direct exposure to leading brands through projects, internships, and industry-led teaching.
Fashion Design BA and MA students open Paris Fashion Week each year in March and June, while the craftsmanship programmes provide direct access to couture and haute couture ateliers. As a result, IFM’s campus functions as a microcosm of a fashion company, where designers, managers and artisans learn to work together from day one. Three doctoral programmes complete the academic offering and offer a truly multidisciplinary research approach applied to fashion and luxury.” — Xavier Romatet, dean, Institut Français de la Mode
“Successful applicants demonstrate a strong personal vision, intellectual curiosity, and a clear motivation for working in the fashion industry. A compelling portfolio (where required), a well-articulated statement of purpose, and evidence of cultural awareness, creativity, and engagement with contemporary fashion issues are key to standing out.” — Xavier Romatet, dean, Institut Français de la Mode
“IFM gave me the tools for my ambitions and a community of friends and colleagues to rely on. I found there was a safe space for personal and creative expression. It was the right place to try, make mistakes and learn from the other students and believe that the world was there for you to conquer.” — Burc Akyol, designer
“What has been most valuable to me in the long run has been the technical courses. I have particularly vivid memories of the extended workshops with designers or of the Textile Technology classes, which gave me a deep understanding of fabrics — their properties, their impact, and how they behave. All of this has been incredibly useful in my day-to-day work as a CEO. Being able to bridge business and creativity through a shared, hands-on language has been one of the most valuable outcomes of that experience.” — Sybille Darricarrere, CEO, Victoria Beckham
“The school acts as a true gateway into the industry. Its strong alumni network is incredibly valuable, and the visibility it offers within the fashion ecosystem played a key role in helping me secure my first internship — an experience that ultimately led to a full-time position.” — Bastien Daguzan, CEO, Fear of God
Istituto Marangoni
With campuses in Milan, Florence, Paris and London, plus outposts across Miami, Dubai, Shanghai, Shenzhen and Mumbai, Istituto Marangoni has a more global footprint than other fashion school. The teaching is broad but rooted in a history of Italian craft, with each location offering its own distinct focus: Milan and Paris are best known for fashion design; Florence leans into art and visual communication; while London has a strong reputation for its styling, communication and business degrees. Many students go on to work in-house at Italian luxury brands, or launch labels of their own, with alumni including Domenico Dolce, Franco Moschino, Dario Vitale and 16Arlington’s Marco Capaldo.
For those wanting to build careers in luxury fashion, supported by strong technical training and a global network, Marangoni is a great choice.
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Academic: High school diploma, A-Levels, or equivalent.
Portfolio: Required for design courses, alongside personal statements.
Additional tasks: Interview depending on campus requirements.
International: English or Italian proficiency (depending on campus), visa documentation.
Varies between country and course. Applicants should check the university website.
BA Fashion Design
BA Fashion Styling and Creative Direction
BA Fashion Business
MA Luxury Brand Management
MA Fashion Buying and Merchandising
MA Fashion Promotion
MA Communication and Media
Domenico Dolce, Franco Moschino, Alessandra Facchinetti, Dario Vitale, Rachel Scott, Marco Capaldo, Alessandro Sartori, Julie de Libran, Rahul Mishra.
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“Istituto Marangoni stands out for its ability to bring together creativity, research and industry in a very concrete way. Our students work directly with professionals, brands and technologies that reflect how the market actually operates. This turns the school into a genuine space for experimentation, where ideas are constantly tested through practice.
Here, in Florence, we promote an open and interdisciplinary way of thinking. We encourage students to look at the world with curiosity and critical awareness, to develop their own point of view and to turn it into projects that are innovative, sustainable and relevant. We’re not just training future designers — we’re shaping thinkers who can understand and anticipate change.” — Lorenzo Tellini, director of the Florence school of fashion and art
“We’re not looking for perfectly trained students, but for individuals who are curious, aware and ready to engage with the creative world. A portfolio doesn’t need to be extensive; it just needs to express a genuine sensibility, a personal perspective and the ability to observe. To prepare, I always suggest building a strong cultural and visual foundation — visiting exhibitions, following fashion and contemporary art, taking notes, experimenting, collecting ideas.” — Tellini
“My studies felt like doing a master’s or attending a show every day — like participating in something big every single day of my life. Since I had the chance to be in my mother’s atelier, I had the chance to mature the experiences related to the transformation of a drawing into an artefact, garment, or product. However, what I needed was the methodology. The school gave that to me, and taught me how a certain type of message can be translated in a certain way on the runway. For me, that was pure joy.” — Alessandro Sartori, artistic director of Zegna (from a university film)
La Cambre
La Cambre has a research-led, concept-driven approach to teaching, and a program that treats fashion as a critical practice. It may not have the global recognition of other schools, but its notable alumni roster is pretty impressive, including Anthony Vaccarello, Matthieu Blazy, Nicolas Di Felice, Julian Klausner and Marine Serre. With a five-year integrated BA and MA structure, the school encourages interdisciplinarity studies across fields to prompt creative collaboration. Unlike other courses, La Cambre’s Stylisme et Création de Mode design course incorporates garment construction, image-making, narrative and context. It places emphasis on students developing a distinctive personal voice, with intense focus on practical skills like pattern-cutting, material exploration and construction, alongside conceptual thinking and experimentation.
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La Cambre is a school for those who see fashion within a wider context and are keen to examine why clothes exist, culturally, politically and socially. It’s also for students who want to try cross-disciplinary studies, experiment with their artistic practice and learn about building a world rather than just making clothes. It’s also more affordable than many other leading institutions.
Academic: A-levels or baccalaureate.
Portfolio: Required for most courses.
Additional tasks: Interviews after portfolio pre-selection.
International: French proficiency encouraged. Free French language classes offered.
Students from low-income backgrounds: €374 per annum
Intermediate rate: €835 per annum
Full rate: €1,194 per annum
Non-EU students: €4,175 per annum
BA / MA Stylisme et Création de Mode
Anthony Vaccarello, Matthieu Blazy, Nicolas Di Felice, Julian Klausner, Marine Serre, Olivier Theyskens.
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“Above all, we are pragmatic. We’re looking to make intelligent fashion, not to fantasize, sketch or create mood boards. Straightaway in their first year, our students learn to work three dimensionally; they actually draw very little. Our exercises usually go from the Stockman dummy to the cutting table, and then back again to the dummy. The last thing I want is for my students to dream up grandiose projects that are impossible to achieve and so ultimately useless.
I mean, dreaming is important, of course, but at the end of the day, we’re making clothes, and clothes should be a reflection of the world we’re living in. They should be thoughtful, as opposed to merely pretty or impressive, especially today. The more the focus is on pretty models, monumental sets and hype, the less important clothes become. We need to keep rethinking fashion, and that’s our main goal.” — Tony Delcampe, head of fashion (from System Magazine)
“We ask our candidates to be curious, well-informed about the pedagogy developed within the school, and have a real passion for art and fashion. We have to understand that they are not fantasising their choice — they need to show their potential with real intelligent evidence. We want to see smart attempts and trials of garments made with boldness.” — Delcampe
“La Cambre really pushes you to find yourself as an individual, to discover what truly drives you, and I think that leaves an indelible mark somewhere.” — Nicolas Di Felice, Courrèges creative director (provided by La Cambre)
“During the first three years, you learn. Then, you start putting things into practice. The fifth year is a kind of culmination. You create your entire collection with your own hands. You become aware of construction in 3D. The discipline is strict. The teachers judge harshly, but that’s how you progress. It’s a school that reveals personalities.” — Anthony Vaccarello, Saint Laurent creative director (provided by La Cambre)
“The system was almost like Bauhaus: you had a fashion course, but you also learned about music, art, semiology, semantics. You absorbed a lot.” — Matthieu Blazy, Chanel creative director (provided by La Cambre)
“La Cambre taught me to continuously question myself, to strip my ideas back to their essence, and to step back from my work from time to time for a necessary reality check. There is a sense of community beyond the school amongst the students, across different generations of graduates, which I find particularly special. I am very grateful for the rich experience that La Cambre brought me.” — Julian Klausner, Dries Van Noten creative director (provided by La Cambre)
London College of Fashion (LCF)
With a new campus in Stratford opened in 2023, London College of Fashion (LCF) is widely regarded as having one of the strongest fashion communication departments in the UK. Its fashion business school is also well respected, offering practical routes into branding, strategy and the commercial side of the industry. For design, LCF’s strongest courses are for those keen to specialize the crafts of footwear and accessories. The university prides itself on supporting students after they leave with programs like Graduate Futures, which offer one-to-one coaching and placement support, helping students build momentum beyond their studies.
For those wanting to develop a subject niche or gain an education in fashion’s overarching systems, LCF might be the place for you.
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Academic: A-levels or equivalent.
Portfolio: Required for most courses, content depends on discipline (design, styling, media, business).
Additional tasks: Interviews or written tasks for some pathways.
International: English proficiency, visa documentation.
UK residents: £9,535 per annum
International: £20,000 to £30,000 per annum
BA Fashion Marketing and Communications
BA Cordwainers Footwear and Accessories
BA Fashion Design (Womenswear / Menswear / Sportswear / Textiles /Jewelry)
MA Footwear
MA Fashion Futures
MA Fashion Media and Communication
MA Fashion Entrepreneurship and Innovation
Jimmy Choo, Christopher Bailey, Jonathan Anderson, Nensi Dojaka, Alek Wek, Peggy Gou.
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“Our courses are for people who recognize both the challenges and the possibilities of an industry undergoing rapid transformation. Fashion has a complicated reputation and our students are part of redefining it with more conscious, climate-aware and socially responsible approaches.” — Claudine Rousseau, school of design and technology dean
“In the school of media and communication, we don’t just support the fashion industry, we give it purpose. Fashion has countless facets, but it is media and communication that give it its narrative, its voice and its cultural power. We attract students who want to push beyond traditional fashion media and communication and engage with the technologies, ideas and narratives shaping tomorrow’s industry. Our learning culture emphasizes collaboration, research-driven practice and a commitment to social and environmental responsibility.” — Bex Cassie, school of media and communication creative director
“The most engaging applications show curiosity, critical thought and a willingness to experiment. We look for applicants who aren’t afraid to question, to play, to collaborate and to push their ideas beyond the obvious. We want to see not just polished outcomes, but the thinking, research and personal perspectives that drive your creative process, as well as work that reflects values, not just technical abilities.” — Cassie
“LCF really opened my eyes to how concept, research and storytelling can shape a collection, not just the clothes themselves. It encouraged me to constantly question and refine my own aesthetic. The experience gave me the confidence to start an independent label and stay true to its identity as it grows.” — Liushu Lei, designer and co-founder of Shushu/Tong
“Studying at LCF shifted my mindset from a fashion student to a fashion designer, which truly prepared me for the realities of building Shushu/Tong.” — Yutong Jiang, designer and co-founder of Shushu/Tong
Parsons School of Design
Parsons is often seen as the cornerstone of American fashion education, known for producing industry leaders like Marc Jacobs and Anna Sui. Its approach blends a distinctly New York design culture with a forward-facing curriculum that emphasizes sustainability, technology and critical thinking.
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Students complete a shared foundation year before moving into one of four pathways — Collection, Materiality, Fashion Product, Systems and Society — allowing them to tailor their studies to their interests. Strong industry links, from luxury groups to global organizations, feed into project briefs and collaborations, while the annual graduate show remains a major draw on the New York fashion calendar.
Academic: High school diploma or equivalent, alongside transcripts, essays and letters of recommendation.
Portfolio: A visual arts portfolio, with contents varying depending on pathway.
US residents and international: $60,240 per annum
BFA Fashion Design
AAS Fashion Design
BBA Strategic Design and Management
MPS Fashion Management
Marc Jacobs, Tom Ford, Anna Sui, Donna Karan, Alexander Wang, Jack McCollough and Lazaro Hernandez.
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“Parsons is ranked the number one art and design school in the US by QS World University Rankings by Subject and distinguishes itself through a uniquely integrated approach to fashion education, one that combines rigorous design training with critical, research-driven inquiry. Students are encouraged not only to develop strong technical and creative skills, but also to understand the broader cultural, social and emotional forces that shape fashion. This holistic perspective is central to the school’s identity.
Interdisciplinary collaboration is another defining feature. Fashion students work alongside peers in architecture, fine arts, technology, photography and product design, fostering a dynamic environment where new ideas and methods naturally intersect. Parsons is also a leader in socially and environmentally responsible design. Together, these elements create an ecosystem where designers are taught to be thoughtful, inquisitive and responsive to the world around them.” — Anna Lerner-Zwick, BFA Fashion Design program director
“To create a truly standout application, we encourage students to focus on personal expression and creative thinking rather than technical skill alone. Although Parsons is a fashion school, we do not expect portfolios to focus only on fashion work. Many of our strongest applicants come from a wide range of creative backgrounds. Students are encouraged to include work that reflects their interests and skills, whether that involves sculpture, fine art, illustration, photography, or other forms of making. Ultimately, students should ask themselves: does this work represent who I am? Does it look like my viewpoint — not the person sitting next to me in class? There’s no single way a portfolio should look. Everyone is different, and that’s precisely what makes applicants shine.” — Lerner-Zwick
“There are few prestigious design schools that offer dual degrees — Parsons being one of them. I was lucky to learn about the program early on, and graduated with a BFA in Menswear Design from Parsons and a BA in Philosophy from Eugene Lang. The Parsons fashion program attracts a certain type of student, one that thrives in a competitive and rigorous environment. The curriculum, when I attended, centered around the importance of thinking holistically about the fashion industry as we built our collections.” — Emily Adams Bode Aujla, designer and founder of Bode
“I only spent my first two years at Parsons before transferring to Central Saint Martins, but those two years gave me a really solid technical foundation. Parsons gives you the flexibility to intern while you’re studying, which is such a big deal. Being in New York and getting to actually work in the industry at the same time you’re learning is huge. That hands-on experience is something you can’t do everywhere, and it makes such a difference when you’re starting out.” — Colleen Allen, eponymous designer
Polimoda
Set in the heart of picturesque Florence, Polimoda offers a fashion education with the industry built in. The school brings students into close contact with artisans, manufacturers and luxury brands, and almost every course is led or shaped by an industry figure. Creative direction is taught under the guidance of Felipe Oliveira Baptista (former creative director of Kenzo), for example, while collection design is led by Marco de Vincenzo (creative director of Etro).
Other pathways, like luxury retail and business management, atelier design and fashion art direction have been developed in partnership with Ferragamo, Gucci and Vogue Italia, respectively. As for student experience, small cohorts and one-to-one mentorship encourage students to develop their distinct point of view alongside the practical skills needed to lead a brand. It’s a nurturing model that has shaped fashion leaders such as the husband-and-wife duo Lucie and Luke Meier — former creative directors of Jil Sander who met at the school — and former Marni creative director Francesco Risso, who was just appointed to the Fast Retailing labels Uniqlo and Gu.
Surrounded by Italian manufacturers, Polimoda suits those seeking an education that blends Italian craft with a nurturing environment that allows for individual growth.
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Academic: High school qualification (A-levels, International Baccalaureate or equivalent) for BA courses. Relevant undergraduate degree or equivalent professional experience for MA courses.
Portfolio: Required for design-led courses, typically including drawings, creative projects and evidence of visual research. Business-focused courses may require a CV and personal statement.
Additional tasks: Interview (in person or online) and aptitude assessment depending on course.
BA: €18,000 per annum (No difference for international fees)
MA: €28,000 per annum (No difference for international fees)
BA Fashion Design
BA Fashion Business
BA Fashion Art Direction
BA Atelier Design
BA Fashion Accessories Design
BA Fashion Styling
MA Fashion Brand Management
MA International Fashion Business
MA Luxury Retail
Business Management
MA Sustainable Fashion
MA Collection Design
MA Creative Direction
MA Fashion Art Direction
Lucie and Luke Meier, Francesco Risso, Massimiliano Giornetti (ex-Salvatore Ferragamo), Sheila Bridges, Italo Zucchelli (men s creative director of Calvin Klein Collection from 2004 to 2016), Frederik Berner Kühl (designer), Samuel Lewis (designer), Marco Panconesi (jewellery), and Federico Cina (creative director).
“What truly sets Polimoda apart is its focus on the individual, combined with a constant, real-time relationship with the fashion industry. From the moment students enter the school, we work with them to understand their potential, their aspirations and the professional direction that best suits them. This translates into a tailored educational path based on one-to-one mentorship, small groups, and a strong focus on practice over abstraction.
Being based in Florence is a crucial part of this identity. We are located at the heart of the Made in Italy production districts, in direct contact with manufacturers, artisans, brands, and creative studios. This proximity allows students to experience how fashion is actually made and managed, not through simulation, but through direct exposure. Polimoda is a different kind of fashion school. Our faculty comes directly from the fashion system, ensuring a continuous transmission of know-how and an educational offer that evolves alongside the industry.” — Massimiliano Giornetti, director, Polimoda
“A compelling application is one that demonstrates personality and intent, rather than specific technical skills. We are interested in candidates who have begun to reflect on who they are, what motivates them, and how fashion could become a professional path for them. This doesn’t mean having all the answers, but showing curiosity, openness, and a willingness to engage with fashion as a structured, demanding industry.” — Massimiliano Giornetti, director, Polimoda
“I went to Polimoda because the fashion [industry] was very abstract to me, not knowing anyone from the business. Polimoda showed me the possibilities and the options in the field. It helped me grow, and it made it clear that I wanted to work in design. After the marketing course, I moved on, but it gave me a very good foundation for the next steps.” — Lucie Meier, designer
“It was the first year Polimoda opened, so it was still connected to New York’s FIT. Our lessons were all in English and the whole experience was exciting. We were really busy with draping, sewing, pattern making, and designing. My draping teacher JoMarie DiIorio, from New York, gave me an incredible gift at the end of the course – my very first job interview, with Jean Paul Gaultier himself. He was my hero. I was flabbergasted. She called me on my landline and told me ‘you have an interview tomorrow morning at 9am’. She really saw something special in me and I will always be grateful for that.” – Italo Zucchelli, (designer, ex-Calvin Klein Men’s)
“Studying at Polimoda helped me build a solid creative and technical foundation, but most importantly, it pushed me to develop a clear personal identity. The school encouraged me to research my roots, culture, and territory, and to translate them into a contemporary language. This approach has become central to my work and continues to guide my professional path today.” — Federico Cina, creative director
Politecnico di Milano
Politecnico di Milano isn’t a fashion school — and for many students, that’s precisely its appeal. Best known globally for architecture and industrial design, it also happens to offer one of the world’s most respected fashion design courses, approaching teaching through the same expansive lens that defines its wider teaching: analytical, research-led, and closely tied to design industries. Students are encouraged to understand fashion beyond the making of a garment or identity of a brand, but as part of broader cultural, technological, and industrial ecosystems. If you’re interested in fashion’s shifting relationship with the worlds of technology, material innovatio,n and global creative systems, then this might be the place for you.
Don’t want to go to a traditional fashion school? Interested in architecture, material innovation, and design? Then Politecnico di Milano’s renowned fashion course might be right for you.
Academic: High school qualification or equivalent for BA programmes. Relevant undergraduate degree for MA programmes.
Portfolio: Required for Fashion Design programmes, typically including design projects, drawings and evidence of creative thinking.
Additional tasks: Entrance exams are required for many programmes, reflecting the university’s technical and academic focus.
Annual tuition: €3,726
BA and MA Fashion Design
Gianfranco Ferré, Andrea Incontri (Tod’s).
“What sets the School of Design at Politecnico di Milano apart is its educational model, which combines a strong design culture with a close connection to industry, technology and contemporary society. Our programmes train designers to work within complex systems, equipping them with both critical thinking and practical skills needed to operate in today’s global creative industries.” — Francesco Zurlo, dean, School of Design
“We look for students who demonstrate intellectual curiosity, openness to experimentation, and a strong motivation to engage with design as a cultural and professional practice. A compelling application shows awareness of the contemporary design context and a clear interest in developing a personal approach.” — Francesco Zurlo, dean, School of Design
Royal Academy of Fine Arts Antwerp
The Antwerp Six — Dries Van Noten, Ann Demeulemeester, Walter Van Beirendonck, Dirk Van Saene, Dirk Bikkembergs, Marina Yee — began their much-fabled stories in the halls of the Antwerp Academy, and their revolutionary work has helped cement the school’s reputation for producing some of the most innovative and influential designers in fashion, from Demna to Van Noten.
The academy prides itself in encouraging expansive, conceptual thinking as well as steeling students in the technical rigors of craft. Known for its studio culture and famously exacting entrance exam, its four-year program, culminating in a master’s-level final year, is best for independent thinkers and those drawn to designing from a perspective that blends art, design and fashion.
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Academic: High school diploma equivalent to Belgian higher education.
Portfolio: Required as part of a multi-stage entrance exam including drawing and design tasks.
Additional tasks: Entrance exam and interviews.
EU residents: Approximately €1,300 per annum
International: €8,500 per annum
BA Fashion Design
MA Fashion Design
Dries Van Noten, Ann Demeulemeester, Walter Van Beirendonck, Dirk Bikkembergs, Dirk Van Saene, Marina Yee, Demna Gvasalia, Kris Van Assche, Glenn Martens, Meryll Rogge.
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“Antwerp is a fashion department that is a part of the Royal Academy of Fine Arts, meaning it is part of an academy whose focus is fine arts. Our program is therefore unique because its approach is based in the classic artistic tradition, like drawing and hand craft, while also focused on creating artists and designers who are modern thinkers. The tension between tradition and contemporary is our strength.” — Brandon Wen, fashion department creative director
“An application is first and foremost strong because of well-thought-out ideas and a certain technical level. However, beyond these basics, it is also extremely important for an application to display a distinct amount of character and personality. Who are you? What is it that you are trying to say that hasn’t been said before? We are looking for exciting minds and challenging points of view.” — Wen
“I didn’t enter the academy with a fixed idea of what fashion should be. What makes the academy special is that they value exactly that openness. The teachers have this strange gift of sensing immediately when something isn’t really you. They’ll simply say that it’s bad, but you already know it, and they force you to confront yourself so you can find your own voice — not a trend or a reference, but something that belongs only to you. The school is built like an art academy rather than a commercial fashion program; you draw still-life for technique, abstract for freedom, and you are constantly surrounded by philosophy and art history. They train your eye, not your survival skills. The culture is small, concentrated and serious, a kind of pressure cooker but with a deep respect for craft, and you feel the presence of the Antwerp Six as a lineage of people who dared to be different.” — Julie Kegels, eponymous designer
Royal College of Art (RCA)
What sets the Royal College of Art (RCA) apart is its research-driven approach. As one of the top art and design universities in the world, its MA program guides students not just to design, but to question, analyze and challenge the systems fashion operates within.
Across womenswear, menswear, knitwear and footwear, the pathways balance conceptual exploration with strong technical development, while prompting students to engage with histories, identities and the future-facing issues shaping our planet — from sustainable material development to the ethical infrastructure of retail. Beyond its outstanding courses, projects like the Grand Challenge, where students collaborate with peers from across the School of Design and partners like Unesco and Cern, are where the college’s interdisciplinary spirit shines, giving students a more lateral grasp of the worlds they want to build.
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Academic: BA in fashion or a related discipline, or equivalent.
Portfolio: Strong, cohesive body of work demonstrating experimentation, technique and conceptual depth.
Additional tasks: Interview for shortlisted candidates.
UK residents: £15,600 per annum (can vary between programs)
International: £35,000 per annum
MA Fashion (Womenswear / Menswear / Knitwear / Footwear / Accessories / Digital Practices)
MA Textiles
Christopher Bailey, Erdem Moralıoğlu, Neil Barrett, Bianca Saunders, Saul Nash, Holly Fulton, Thomas Heatherwick.
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“Fashion is about identity, self, ego, designers, product, commerce, manufacturing and textiles; silhouettes, finishing, mercurial thinking and imaginings; theatre, anticipation, color, camouflage; new and old systems; atelier and corporate, real and virtual, and much more. At its best, it is controversial, restless and speculative and about all of culture.
The designers here at RCA use methodologies that explode the imagination away from the accepted through material explorations and collaborations, new silhouettes, new systems and new responses about fashion as identity in both worlds — real and virtual. They are brave and innovative, and unafraid to break old systems to create new ones.” — Zowie Broach, MA Fashion program head
“We are looking for their unique vision and ask: what does the future of fashion need to be? What does your work offer or activate in other people? How do you choose your materials? How do you show the specificity of a body?” — Broach
“Studying at RCA was an incredible experience. Zowie Broach is a true visionary and really encouraged me to embrace myself within my work. RCA also really emphasized the importance of true craftsmanship and building a world around your work.” — Saul Nash, eponymous designer
“Zowie encouraged me to bring it back to China, to take my Western education and root it in my own culture. I feel like she was right.” — Jingwei Yin, designer and founder of Oude Waag
Savannah College of Art and Design (SCAD)
Savannah College of Art and Design (SCAD) offers one of the most expansive fashion programs in the States, with top-ranked pathways in design, textile development, sneakers, accessories and marketing. Its reputation is built on its world-class facilities, strong industry connections and a culture that encourages visually ambitious, future-facing work. The university’s Fibers program is one of its major draws, with dedicated studios for weaving, digital textile printing and material innovation through state-of-the-art technology. The university also has a history of producing footwear and accessories talent, with graduates going on to work at major brands like Thom Browne and Marc Jacobs.
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For students seeking a well-resourced, industry-connected route into fashion on a buzzy campus, SCAD could be the right path.
Academic: High school diploma or equivalent.
Portfolio: Required for most programs, may include garments, drawings and mixed media.
International: English-language proficiency, visa documentation.
Universal: $42,165 per annum
BFA Fashion Design
BFA Accessory Design
BFA Textiles
BFA Fashion Marketing and Management
MA Fashion Design
MA Accessory Design
Christopher John Rogers, Kate Barton, José Criales-Unzueta, Julian Robaire, Kan Ando, Trish Andersen.
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“SCAD is intensely focused on preparing our students for successful, long-term careers in the creative industries, and that’s reflected in our world-class facilities, a faculty with deep, diverse professional experience, and our unparalleled ties with the fashion world. Beyond that, what sets SCAD apart is a unique sense of community. Our students make lifelong bonds during their time here. Take designer Christopher John Rogers and fashion executive Christina Ripley, who met at SCAD. Christina wrote Christopher’s business plan as her thesis project, and together they’ve been successfully growing the CJR label for a decade.” — Dirk Standen, school of fashion dean
“We’re looking for students with a sense of curiosity and an adventurous creative spirit. We encourage applicants to immerse themselves in art, photography, movies and music. Study the work of great fashion designers, discover the creators who are inventing new aesthetics on social media, be alive to what’s going on in culture today. Technical skills and expertise will certainly be developed through studying in the program, but the deeper a student’s frame of reference, the more they’ll stand out and exceptional portfolios reflect that.” — Standen
“My time at SCAD gave me the space to build my creative foundation, work ethic and the confidence to explore my ideas as I stepped into the industry. And the support didn’t stop at graduation; SCAD has continued to guide me in meaningful ways, opening doors and helping shape my path as a designer.” — Kate Barton, eponymous designer
No matter your ambition, there’s an institution and a global city that can prepare you for a career in fashion. And while some schools may have famous alumni or a major reputation, what all tutors agree is that you have to find the course and the process that meets your individual needs.
