2019 Of The Best Fashion Academy In The Year Of The National College Entrance Examination

What is the top fashion education in 2019?

It depends.

Although this includes some general important considerations, such as teaching quality, good supporting facilities, and the vitality and diversity of students, the final answer depends on the students themselves.

It depends on students' personal career goals and objectives.

It depends on the budget of the students.

It also depends on the city they want to live in, their classmates, and the way they like to learn.

In short, there is no single answer to this question.

This is our original intention of making the latest BoF annual report on fashion education.

Starting from the first report in 2015, and then to the follow-up reports in 2016 and 2017, BoF ranked the undergraduate and master degree courses of the Fashion Institute from the creative and business level to help the students who are committed to the development of the fashion industry choose the appropriate institutions of higher learning and pursue their career dreams and aspirations.

Although these rigorous and meticulous analyses have aroused heated discussions on fashion education worldwide and have always been one of the most popular topics of BoF, we understand that another important group of stakeholders is not satisfied with our selection methods. These stakeholders are the Fashion Institute itself, even among the top universities in our rankings.

We decided to suspend the selection of 2018 and reassess our ranking methods for fashion colleges.

We have made a comprehensive review of the methods we adopted and the way we convey results.

We even intend not to publish the annual report of fashion education institutions.

We have explored everything.

Over the next 12 months, we brought together 12 world-renowned professionals in fashion education and industry. When we looked for a comprehensive rethinking of our analytical methods and presentation of results, these experts became our trusted guides.

We have been working with dozens of fashion educators from around the world to collect feedback on our current selection methods and understand the impact of our rankings on fashion education related discussions worldwide.

Other students told us that our education report did provide them with the information needed to help them make the right decisions.

New method

After receiving these feedbacks, we decided to continue to do so.

Obviously, although we have the opportunity to improve our fashion education evaluation methods, BoF can still play an important role in the global dialogue on fashion education, and the vast majority of educators and students we talked with have affirmed the value of our participation.

So what changes have we made based on the feedback we collected?

We have abandoned the ranking form used in previous reports, and have commended the advantages of the Academy in the four key areas of "Best Overall", "Best Best Global Influence", "best learning experience" (Best in in) and "the most long-term value" (Badges of Excellence) in the form of "excellent badge".

The best performing course in each key index will be awarded the category "excellent badge" and shortlisted for the list.

In response to the feedback we received from our previous report on academic subjects, in order to provide a more comprehensive list of courses, we further divided the assessment of undergraduate and master courses into three key disciplines: fashion art guidance and communication, fashion design and business management.

(we also collected the curriculum data of fashion textiles, but because of lack of data support and low participation, there is no need to separate assessment this year.)

Our feedback pool has added more relevant personnel and measured their feedback on the most admissions colleges. Through this approach, we have strengthened feedback from human resources professionals, recruiters and professionals in the industry to help us assess whether graduate students are well prepared to join the fashion industry.

We also seek feedback from academic peer reviews: these comments ask educators to advise on global fashion courses in addition to their own educational services.

In order to conduct the most convincing and comprehensive assessment of the global fashion education curriculum, we jointly examined the data collected from data analysis needs with the BoF Education Committee, and made necessary adjustments to the selection methods.

But we still insist on using rigorous and diverse data to arrive at a conclusion.

This year, we used 30 different data points to evaluate 138 courses in 66 educational institutions in 23 countries.

Students, the end users of all fashion education courses, are still an important part of our approach.

This year, we collected survey feedback from over 13500 students and alumni.

Finally, BoF released the 2019 annual authoritative guide to the best fashion academy in the world, which lists 95 courses in 43 universities in 16 countries.

You can find details of the guide here.

Some colleges have chosen not to take part in this year's assessment.

We respect their decisions, because we know that they will also fully respect our right to publish the results of the analysis.

In some cases, especially those in Britain and the United States who have not participated in the selection, we can make use of the open source of data and the data provided by these schools in previous years to list the income of these institutions because we are confident that we are still providing a statistically representative assessment.

If we are unable to get enough information related to certain courses, or do not have enough students and alumni to respond, or the information provided by the institutions is incomplete or inadequate, we prefer to exclude these colleges and universities, rather than draw an inaccurate assessment result based on these incomplete data.

Therefore, our final selection may not include some of the most famous courses.

This does not mean that these institutions are not worth considering by students.

This only means that we do not have enough data to include these institutions in the selection.

We hope that through our new assessment, these institutions will consider taking the initiative to participate in our assessment next year.

Interpersonal relationship and entry

Our analysis this year raises several interesting topics.

In order to prepare students more fully and succeed in the fashion industry, many best fashion colleges have introduced industry projects and mandatory internships in their courses.

"If we look at the longer term, we will find that good schools will build bridges between students and studios, because schools are also within the scope of brand extension," said Floriane de Saint Pierre, a member of the world-renowned fashion search and BoF Education Committee.

In the Polimoda of Florence, Italy, the company oriented projects stand out among our students and alumni.

The university provided students with the opportunity to visit fashion companies and began building their channel networks during their studies.

The companies that have been collaborated by universities include Max Mara, Emilio Pucci and Pitti Immagine. Its business liaison network aimed at helping fashion companies find talent attracts participants including Gucci chief executive Marco Bizzarri and OTB President Renzo tan.

Thomas Jefferson University in Philadelphia has cooperated with Verizon to develop a wearable technology project in Thomas Jefferson.

Verizon is responsible for developing prototypes and hosting students in their New Jersey headquarters to work with their internal teams as hosts.

Students said that Accademia Costume e Moda in Rome also provided excellent cross industry cooperation opportunities through the leather and sustainable development projects jointly launched with Gucci.

However, opinions on high-quality internship opportunities are controversial.

The proportion of students who studied fashion business management undergraduate and master's courses accounted for only 68%, while the proportion of students who studied fashion art instruction and communication and fashion design were 75% and 78% respectively.

1/4 of the students who studied fashion design were not satisfied with their support in getting internship opportunities. This proportion reached 65% among students of fashion art instruction and communication.

"People are most concerned about going out to get jobs," said Karen Harvey, chief executive of Karen Harvey Consulting Group and member of BoF Education Committee.

Many students want to start their own business and hope that they do not have many students working for the brand.

Members of the BoF Education Committee urged schools to continue to invest in students, because few students were fully prepared to enter the fashion industry when they left school.

Jane Rapley, honorary chairman of the Committee and honorary professor of central Saint Martin Institute in London, said: "for all kinds of graduates we cultivate, there is a tension between them.

The fashion industry needs to continue to invest, to help these people find the focus, and to play the talents in the most appropriate way. "

This kind of investment usually provides internships and employment opportunities within the range of selected degrees.

Multidisciplinary approach

In the modern fashion industry, the importance of the creative director's understanding of sustainability or the CEO's familiarity with the design process is becoming more and more important.

In order to acquire a more comprehensive and extensive knowledge, students' demand for multi-disciplinary courses has been expanding and schools have responded.

For example, in Aalto University, Helsinki, Finland, the school encourages students of fashion design undergraduate studies to interdisciplinary learning and support their ideas and ideas through knowledge from Artaud's Institute of art, design and architecture, or their business and technology courses in Helsinki, Artaud.

Similarly, the Drexel University design and marketing undergraduate course combines business and creative courses to provide students with access to various channels from textiles and manufacturing to media and public relations. (University)

However, the BoF Education Committee warns that institutions need to strike an appropriate balance between improving new skills and allowing students to fully belong to a specific degree.

Christine Tsui, a fashion business consultant and columnist, says that for example, the quality of Chinese fashion design courses is not up to the industry standard.

"Today's education has taught students something that looks new, but it has ignored traditional elements," she said.

Karen Harvey agrees.

"I think classical skills are very important," she said.

Everyone is doing new things like video (new vertical channel), but how many people can leave school with skills?

How many people actually start working on drawing?

How many people are working towards the right direction to acquire studio skills?

Traditional skills are still a basic skill. I don't think students have complete mastery of these skills.

Those institutions that are most successful in helping students prepare for their careers are able to provide students with access to different skills while retaining the key basic courses in fashion education.

Technical differences

As fashion companies evolve to adapt to the fast-paced digital world and develop their business models, start-ups in biotechnology, 3D printing and artificial intelligence have become competitors of traditional fashion brands and manufacturers. Students are seeking tools and courses that can enhance their technical acuity.

Tsui said: "because of the development of high technology, more fashion companies are data oriented.

You need to know how to use data, read financial reports, and get good sales data.

Most designers do not like to look at numbers.

These requirements are a set of new skills. "

Generally speaking, colleges and universities seem to have successfully made reforms to the curriculum that reflect changes in the whole industry.

The satisfaction of students in fashion design, fashion business management and fashion art instruction and communication majors is 85%, 88% and 78% respectively.

At Royal Melbourne Institute of Technology University in Australia (RMIT), a local technology start-ups set up a workshop for students. Students can use algorithms and data sets to design printing, clothing and accessories, and envisage a vision of design with artificial intelligence and advanced machine learning computers.

Similarly, in the Atlanta Institute of Arts and design (SCAD), which has branches in Savannah and Savannah, undergraduates will learn all the processes needed to make their own design series, including sewing technology and computer aided design.

These students will also practice two-dimensional and three-dimensional formats.

An alumni of the Savannah School of art and design said: "we can get in touch with the practical industry standard technology, which can help us get ready to join the industry."

For many students, technology is also closely related to sustainability.

Creating new technology driven fabrics and making data oriented design decisions are rapidly becoming a way for them to optimize fashion business for modern consumers.

De Saint Pierr e said: "I think we should not only integrate the concept of sustainability in the fashion industry, but also consider sustainable economic and business models.

This is the ultimate goal of product, production, recycling, inclusive design, how to deal with internal and external employees, and the social responsibility of the fashion industry.

Last but not least, fashion colleges may not be suitable for everyone, but for some students, fashion education is still of great value.

Rapley said: "I don't think students need to read fashion colleges.

There are other ways to enter the fashion industry.

However, learning opportunities can help them grow and understand themselves and their talents, which are usually different from their cognition.

They often have an optimistic view of the industry, and this optimism also helps to guide their talents to the right place for them.