What is it like to graduate during a pandemic? 5 fashion students discuss finishing their collections during lockdown

Senior year for fashion students is usually brimming with excitement and pulsing with adrenaline. After three years of tight deadlines and sleepless nights, young designers finally get the opportunity to perfect their graduate collections. At last, they can showcase something that is unapologetically themselves. The thrill of both this and the prospect of presenting their creations at a press show makes it a year to remember. And if they’re truly brilliant, the result could propel their careers into fashion superstardom (think John Galliano from Central Saint Martins, Martin Margiela from the Royal Academy of Fine Arts and Marc Jacobs from Parsons School of Design).

Then came the COVID-19 crisis. Fashion shows were cancelled until further notice; university facilities and factories pared back; and face-to-face collaboration ground to a halt. But despite the pandemic, students across the world’s fashion institutions were still expected to deliver a final collection. Whether it’s deciphering feedback via Zoom tutorials, being resourceful with online fabric sourcing or self-teaching 3D modelling on YouTube, young designers have had to demonstrate flexibility and innovation to find creative solutions like never before.

We asked five young designers—from Central Saint Martins in London, Bunka Fashion College in Tokyo, Parsons School of Design in New York, Institut Français de la Mode in Paris and the Royal Academy of Fine Arts in Antwerp—to share how they’re coping and what they’re doing to execute their visions at home.

1. Terrence Zhou, 24, BA Womenswear, Parsons School of Design, New York

“My collection is titled Life is a Performance. Totally biographical, [it is] a depository of experiences that document the vulnerable, hilarious and most personal moments of my life. I started by making big 3D mouldings of my face, and I played with this idea by carrying them around. As the project evolved, I began to abstract the concept of [the] self. My garments have broad shoulders that extend beyond the body, which form a barrier, causing people to look at them because of the exaggerated shapes.

“When it comes to the execution of my work, there are lots of uncertainties. My photoshoot in early April got cancelled and fabric shops remain closed in NYC. So I came up with a way of using Cinema 4D and Photoshop to finish my collection virtually. I learned 3D modelling from scratch and registered to many online classes.

“Wuhan, my hometown, was awash with tragedy and fear. I’ve lost an important family member. Part of me felt really sad and part of me kept telling myself to finish my collection. I remember I woke up and couldn’t help but have this feeling of despair. I’m glad that people in Wuhan are back to their normal lives now, and I’m extremely grateful that the rest of my family are safe and healthy.

“When confronted with tough times, it’s important to embrace the change and remind myself what my goal is and what is important for me. During this period, we need to keep the strength of our imagination as designers and young creatives. The future is in our hands. How we construct the possibilities for our lives really matters.”

2. Yasmina Atta, 22, BA Womenswear, Central Saint Martins, London

“Before isolation, my collection utilised a lot of digital techniques. I relied on the university facilities, but I was also working from home more than I had done in the past. Since isolation, I’ve had to resolve unanswered questions in my work more quickly and resourcefully. Although we have online tutorials and still maintain a dialogue with our tutors, a lot of decisions for me have had to come without anyone else’s opinions. I’ve had to trust myself and my own decision making. I have also had to source most of my fabric online, which is quite difficult, but it’s enabled me to make sure I need something before buying it. In terms of more practical obstacles, I’ve had to rethink fabric choices, garment finishing and how I can convey my themes and ideas remotely.

“My collection explores hybridity and the idea of transformation. I have created a character that is an amalgamation of an ancient shaman and a cyborg. Modern techniques are used to create tribal patterns and woven/knit fabrics are used to make cyborg shapes. It’s about the idea that someone can be many things at once.

“This period has made me even more sentimental and I’m grateful for my daily life and the people around me. I’ve learned the importance of the present moment because as a student, you’re thinking mostly about the next step. In terms of work, I’ve become more resilient because there were many moments where I wanted to give up.

“I hope there are new discussions about innovation and change in the way the industry is run, particularly in fast fashion and consumerism. I hope we can become more aware of what we really need and slow down, at least a little bit.”

3. Yun Wen Chen, 26, MA Fashion, Bunka Fashion College, Tokyo

“Before isolation, I discussed migration in my collection. In contemporary society, many people, like me, choose to move away from their hometown for better job opportunities or educational resources. But the memory [of migration] will accompany a person for life. My collection, Nostalgia, is intended to express the subtle changes in the memory of one’s hometown as a result of migration.

“After the outbreak of coronavirus, many people were stranded in a foreign land. The psychological state [induced by] the virus made me think deeper about my concept. My designs use the combination of colour and structure to express the mood of leaving home. My collection uses a large number of colour contrasts and collages of traditional and contemporary architecture, [as well as] the use of local slang slogans as prints.

“My biggest worry was that I couldn’t go out to the fabric market to buy materials, but fortunately there’s a lot online now and I often exchange ideas with friends when I feel confused. I’ve learned to wait patiently and hope that in such difficult circumstances, my enthusiasm for creativity will not be affected by the environment. Although it’s hard to keep this mentality, it’s a good start to try to think this way.

“The development of online fashion shows and digital shopping platforms will [hopefully] become a trend in the future. I’m working on creating my own brand, hoping it can be set up in Tokyo. I chose Tokyo not just because my postgraduate is at Bunka, but [because] I feel that Tokyo is a culturally inclusive city. All of my friends are in Tokyo and there are many interesting places that always surprise me.”

4. Tang Tsung-Chien (Charles), 26, MA Menswear, Institut Français de la Mode, Paris

“For my graduate collection, I wanted to work on the idea of human habitation and its protection while exploring the abundance of nature, colours and textures of Taiwan. Playing with proportion and mixing the functional with the decorative; the ugly with the beautiful; the primeval with the urban. I am now working with local aboriginal weaving artisans [online]. I’m also looking to work with [local] textile companies who produce thread, fabric and hardware made from recycled polyester and recycled ocean waste.

“Since isolation, I picked up crocheting again. I haven’t been doing it for almost four years. It’s something I would probably not do if it wasn’t for the quarantine. I happened to have a lot of dead stock rolls of lacing and rope in my house. Craftsmanship is more important than ever during this time. It is actually nice to slow down and make something that seems more natural. I have more time to search for relevant textile producers and collaborators.

“An obstacle I’ve had to overcome is limited resources. You are forced to look at what you have, it’s a different game. But I see something additional to my work [because of it], so it has been quite positive for me. The current situation will change people’s mentality towards living and how they want to work. It makes people see things more clearly, in a way—what is a priority and what is not. For me, the time-consuming handmade crafts side of fashion will continue to blossom. I’m looking forward to seeing more slow fashion.”

5. Annemarie Saric, 24, MA Fashion, Royal Academy of Fine Arts, Antwerp

“Without giving away too much, there were two pillars that kickstarted the concept of my collection. I drew inspiration from random terms and sentences that I found online, in fashion magazines and artworks. The graphical representation interests me. I looked into the streamlined, aerodynamic and stylistic design language of concept cars. I heavily drew inspiration from the latter to develop cuts and silhouettes.

“The direction has not changed since lockdown, but certain things I had planned had to be cancelled due to isolation, like a collaboration with a friend. The biggest change was having to source my fabric through different channels and adapt my planned silhouettes accordingly. This was challenging, but also interesting.

“This is an unprecedented situation for our generation. I don’t hold the answers, but these are the things that keep me going: find solace in friends; don’t feel rushed or pushed and take time to reflect; don’t strive to go back to a ‘normality’ but keep hope for the system to grow into something better. We too have a voice and can bring change.

“When it comes to the fashion industry, it’s hard to figure out how the systems and mechanisms are working. Whatever the change might be, it is undefined yet. Since these times are giving us the chance to reflect and share our thoughts with each other, the wrong and unjust aspects of the industry will be discovered and this will implement a new set of rules for the future. I don’t know what the future will bring. My journey has only [just] started. If chances come upon my path I will take them. Only time will tell.”

Also read:

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Indian designers on the challenges of keeping brands afloat amidst the coronavirus pandemic

Why supporting local designers has never been as important as it is now