Category "Fashion Events"

Celebrating World Teacher’s Day – October 5th

Francesca Sterlacci - October 3, 2026 - Current Topics in Fashion, Fashion Art, Fashion Business, Fashion Design education, Fashion Education, Fashion Events, First & Largest Online Fashion Education Library, Instructor Spotlight, Pattern Making, Retail Marketing, Retail Math, retail merchandising, Sewing, The Making: University Of Fashion, Visual Merchandising

Did you know that October 5 is World Teachers’ Day?

Today, we celebrate the remarkable educators who have chosen one of the world’s most meaningful professions—especially the exceptional instructors of University of Fashion.

Becoming a fashion educator, in any specialty, requires far more than formal education. It takes years—often decades—of hands-on industry experience, continued learning, creative problem-solving, and a genuine commitment to sharing knowledge. Our roster of fashion professionals reflects that dedication, bringing real-world expertise, hard-won insights, and invaluable tips and tricks directly to our students.

From sewing beautifully tailored handmade buttonholes and draping on the bias to illustrating camouflage prints, mastering color theory, and exploring retail through visual merchandising, University of Fashion instructors teach the skills that bring fashion ideas to life. They are true sharers: generous with their knowledge, passionate about their fields, and committed to helping the next generation succeed.

Many of our instructors teach at leading fashion colleges around the world. Others have spent more than a decade in the industry—some more than 40 years—and many balance both professional practice and academic teaching.

On World Teachers’ Day, we extend our deepest gratitude to all 72 University of Fashion instructors. Thank you for your lasting contributions to the fashion industry and for inspiring our global community of subscribers over the past 18 years.

As the first and largest online fashion education library, University of Fashion is proud to celebrate the teachers who make learning possible.

Introducing our Team

image of new lesson West African Textile - Vlisco - Cote d"Ivorie

Announcing Our Newest Lesson: West African Textiles: Vlisco — Cote D’Ivoire

Francesca Sterlacci - September 26, 2026 - Costume Exhibitions, Fashion Education, Fashion Events, Fashion Exhibitions, Fashion History, Fashion Lectures, New Lessons, New University of Fashion Lessons, Textiles

University of Fashion’s lesson on West African textiles of Cote d’Ivoire – specifically the Vlisco Group. (Image credit (University of Fashion)

This new lesson examines the Vlisco Group and its powerful role in the textile industry of Côte d’Ivoire, as well as throughout much of West Africa. As a leading supplier of commercially produced, nontraditional African wax-print textiles, Vlisco has had a far-reaching influence on the visual culture, fashion economy, and consumer textile market of the region.

Although Vlisco’s fabrics have become closely associated with West African dress and identity, the company’s relationship to African textiles is also complex and controversial. Its Dutch-produced wax prints draw upon techniques and aesthetics shaped by global trade, colonial history, Indonesian batik, and generations of African consumers, merchants, designers, and dressmakers who have given these textiles their distinctive cultural meanings.

In this lesson, you will explore Vlisco’s significant financial and creative impact on the African textile industry, with particular attention to Côte d’Ivoire. You will also consider how commercial wax prints have evolved into an important medium for personal expression, fashion, status, and cultural communication across West Africa.

UoF’s West African Textile Series

Mina Dia-Stevens and her other lessons in the series on the textile traditions of Burkina Faso, Mali, Senegal and, coming soon…Ghana.

Origin of “African Prints”

African fashion on display at the Perelman Building 2016. (Image credit: Philadelphia Museum of Art)

Did you know that the textiles commonly called “African prints” today are industrial wax-print fabrics with roots in the much older batik tradition? Batik—created through hand-drawn or hand-blocked wax-resist dyeing—has early precedents in China and India as far back as the eighth century. By the thirteenth century, artisans on the Indonesian island of Java had refined the technique into the highly sophisticated visual and technical tradition now most closely associated with Africa.

During the nineteenth century, Dutch textile entrepreneurs adapted and industrialized Javanese batik methods. Although these textiles were initially intended for markets in Indonesia, they found an especially enthusiastic audience in West and Central Africa. Over time, African consumers, traders, and dressmakers made the fabrics their own, assigning distinctive names, meanings, and social significance to individual patterns. The result is the vibrant wax-print tradition recognized around the world today.

Haarlem Cotton Company

One of the earliest Dutch firms credited with imitating Javanese batik—the technical and visual precursor to the textiles later known as African wax prints—was the company founded by Jean Baptiste Théodore Prévinaire. Prévinaire established a textile enterprise in Haarlem, the Netherlands in 1835 and developed La Javanaise, a mechanized process for reproducing Javanese-style wax-resist cloth. His firm later became the Haarlemsche Katoen Maatschappij (HKM), or Haarlem Cotton Company.

The factory ceased production in 1917 as a casualty of World War I. The following year, its facilities were auctioned. Van Vlissingen, later known as Vlisco, purchased several of HKM’s printing machines and engraved copper rollers. These historic tools continued to be used in the production of designs that remain among the classic patterns associated with the wax-print technique.

Zoba-Zoba: “Children Are Better Than Money”

Early Haarlem Cotton Company cotton wax block pattern designed as a zoba zoba, (associated with fertility). (Image credit: Philadelphia Museum of Art)

This textile is designed as a zoba-zoba, a patchwork-style composition combining several distinct patterns. At its center is an early Haarlem Cotton Company motif associated with fertility. The design is named after the proverb l’enfant vaut mieux que l’argent — “children are better than money”— and reflects the central importance of children and family within many African communities.

Vlisco

Vlisco was founded in 1846 in Helmond, the Netherlands, by Dutch entrepreneur Pieter Fentener van Vlissingen. Originally established as P. F. van Vlissingen & Co., the company later became known as Vlisco. Vlisco found a market in West Africa around 1867. Since then, their prints have caught on and been made popular by African vendors who assign meaning and value to the prints. In fact, when printed cloth is sent to Africa from Vlisco, it leaves only with a stock number. Once it arrives, African vendors name the fabric based on proverbs, current events, politics, religion and material culture. One design can have many interpretations depending on where it is used. It is through naming that the prints acquire social meaning, status, and value and become culturally assimilated into African society.

Cotton wax print named Love, Bomb and Dynamite designed by Cor van den Boogaard for Vlisco 2002. (Image credit: Philadelphia Museum of Art)

This pattern is known by many names, among them Love, Bomb and Dynamite. In Togo, it is referred to as Wounded Heart, reflecting the broken heart of a woman who knowns her husband is cheating on her. Japanese fashion designer Junye Watanabbe used this textile for his 2009 spring/summer collection.

Creative Africa @ Philadelphia Museum of Art 2016

In 2016, African prints and fashion designs were the subject of an exhibition entitled Creative Africa at the Philadelphia Museum of Art’s Perelman Building. On display were the rich textile prints and examples of designers who were inspired by these prints. Enjoy!

Inspirational Vlisco Textile Patterns

Assorted Vlisco textile patterns. (Image credit: Philadelphia Museum of Art)

Vlisco-inspired Fashion Designs

Assorted Vlisco textile patterns for fashion design. (Image credit: Philadelphia Museum of Art)

Title of LACMA's new exhibition, Fashioning Chinese Women: Empire to Modernity

Fashioning Chinese Women: Empire to Modernity @ LACMA

Francesca Sterlacci - September 6, 2026 - Costume Exhibitions, Current Topics in Fashion, Fashion Events, Fashion Exhibitions, Fashion History, Fashion Lectures

Los Angeles County Museum of Art’s exhibition, Fashioning Chinese Women: Empire to Modernity, through October 12, 2026.

I recently had the pleasure of visiting LACMA’s newest exhibition, Fashioning Chinese Women: Empire to Modernity. The exhibition examines a pivotal period in Chinese history, beginning with the final decades of the Qing dynasty (1644–1911)—whose fall brought an end to nearly 300 years of Manchu rule and more than two millennia of imperial governance—and continuing through the profound social and political transformations of the early twentieth century.

Fashioning Chinese Women: Empire to Modernity traces the evolution of women’s dress from the late Qing era through the mid-twentieth century, revealing how fashion both reflected and shaped changing ideas about identity, modernity, and everyday life in China.

3D Printed Bespoke MannequinsFashion designer Jason Wu’s 3D printed mannequins representing various decades. (Image credit: Los Angeles County Museum of Art).

I was especially captivated by the extraordinary embroideries and the more than seventy made-to-measure garments on view. Equally impressive were the custom 3D-printed mannequins created by fashion designer Jason Wu. Thoughtfully designed to evoke the periods in which the clothing was originally worn, the mannequins enhance the presentation of the garments and visually transport visitors from the 1900s through the 1960s.

Qing Dynasty — Final Decades

Lotus slippers were worn by Chinese women whose feet were bound beginning at age three. (Image credit: Pinterest)

In the early twentieth century, China experienced sweeping social and political transformations that reshaped everyday life. The collapse of the Qing dynasty (1644–1911) brought an end to nearly three centuries of Manchu rule and more than two millennia of imperial government. In 1912, the newly established Republic of China inaugurated a new Republican era.

Before this period, foot binding was widely regarded as an important marker of a woman’s desirability and suitability for marriage. After marriage, a woman’s social standing could also be expressed through dress, including finely pleated skirts worn over trousers. Although the Republic of China officially banned foot binding in 1912, enforcement varied greatly by region. The practice therefore persisted for decades in some rural and geographically isolated communities.

Han-style jacket (Ao) and pleated skirt (Qun) with Lotus slipper footwear circa 1900. (Image credit: Los Angeles Museum of Art)

Silk robe and vest (Jinsen) with silk & gold thread tapestry embroidery (Kesi) circa 1890-1910 worn with Lotus slipper footwear. (Image credit: Los Angeles Museum of Art)

In the final decades of the Qing dynasty, informal Manchu-style robes and Han-style jackets were frequently embellished with elaborate ribbon and appliqué borders and paired with lotus slippers.

Han-style Jacket (Ao) and skirt (Qun) circa 1900. (Image credit: Los Angeles Museum of Art)

The Republican Period

In 1912, the Republic of China emerged as a modern nation-state, though its early decades were marked by political instability and conflict. Civil war, which began in 1927, ultimately led to the establishment of the Communist government on the mainland in 1949 and the Republic of China’s retreat to Taiwan.

Long vest (Majia). Silk jacquard, stencil printed, rayon & cotton ribbon, silk satin binding and knotted buttons (pankou) circa 1925. (Image credit: Los Angeles Museum of Art)

Amid this tumultuous era, women assumed new social and professional roles as their participation in public life expanded. Fashion became a powerful visual expression of these changing identities, reflecting evolving ideals of modern womanhood. Drawn primarily from the recently acquired Lai Mah Collection, the garments presented in this exhibition represent China, Hong Kong, and the global Chinese diaspora.

Bridal DressEmbroidered wedding jackets (gua) were worn in the 1950s after a wedding and for special occasions. (Image credit: Los Angeles Museum of Art)

Bridal dress in the first half of the twentieth century used embroidered motifs to express long-standing ideals of marital harmony even as changing silhouettes reflected new influences. Pink, white and black replaced the auspicious red of traditional after wedding jackets. Fitted shapes with darts and curved sleeves reflected Western tailoring techniques. Wedding Ensemble Jacket and Skirt (Qun Gua) Silk satin and metal-wrapped silk thread embroidery 1965. (Image credit: Los Angeles Museum of Art)

The Cheongsam

Silk & rayon mechanical lace cheongsam and circa 1930 .(Image credit: Los Angeles Museum of Art)

The cheongsam (also called the qipao) has roots in the long, loose robes worn by Manchu women during China’s Qing dynasty. But the fitted, high-collared dress most people recognize today emerged in Shanghai during the 1910s and especially the 1920s. Its popularity steadily increased as China became increasingly connected to the wider world and Western textile advances began to influence Chinese fashion.

The Leavers loom, invented in Europe around1813, made intricate laces faster and cheaper to produce. The process expanded into China with dozens of factories opening in Shanghai by the 1930s.

Variations on the cheongsam 1930-1950. (Image credit: Los Angeles Museum of Art)

New materials and manufacturing methods broadened both the appearance and accessibility of fashionable dress. Synthetic dyes introduced brighter, more colorfast hues, while rayon and other manufactured fibers made silk-like fabrics more affordable and widely available. Mechanized jacquard weaving enabled intricate patterns informed by international design trends. Machine-made lace and dévoré, or burnout, velvet expanded access to decorative textiles, producing dramatic effects of texture, opacity, and transparency that were especially suited to the era’s increasingly fitted silhouettes.

Chinese dress circa 1960s. (Image credit: Los Angeles Museum of Art)

By the mid-twentieth century, Chinese fashion had evolved into a distinctive visual language, blending international innovation with enduring local traditions as China engaged more closely with a globalized world. During the 1960s, cheongsam tailoring responded to the decade’s popular shift-dress silhouette through simplified, knee-length styles that showcased bold, graphic textiles. Today, the cheongsam remains a recurring presence in contemporary designers’ collections and an enduring source of creative inspiration.

Want to learn how to make a Handmade Frog & Ball Button Closure? Subscribe to UoF. Click the link to view a preview https://www.universityoffashion.com/lessons/handmade-frog-ball-button/

The New Fashion Essential: Sewing Skills Are Reshaping Fashion Careers

Francesca Sterlacci - June 6, 2026 - Bespoke Tailoring, Current Topics in Fashion, Fashion Business, Fashion Events, Fashion Innovation

University of Fashion offers 92 different sewing lessons from beginner to advanced. (Image credit: University of Fashion)

In an era dominated by fast fashion and disposable clothing, an unexpected shift is underway: sewing is back in style. Once considered a fading skill, the art of stitching, mending, and tailoring garments is experiencing a meaningful revival—both as a creative pursuit and as a viable, in-demand career path.

A June 7 article in The Wall Street Journal, “Vanishing Trade of Tailoring Revives,” highlights just how significant this resurgence has become. Tailors are now in such short supply that Nordstrom has partnered with the Fashion Institute of Technology to support a training program in custom alterations and tailoring. The demand is striking, the program received 190 applications for just 15 spots when it launched last fall.

The Data

Bureau of Labor Statistics Chart by State 2023

According to the Bureau of Labor Statistics, there were approximately 18,500 tailors in the United States in 2024, representing nearly a 30 percent decline over the past decade. This shortage has hindered efforts to revive domestic apparel manufacturing and made it increasingly difficult for retailers such as Nordstrom, Men’s Wearhouse, and Jos. A. Bank to fill alterations roles. Dry cleaners are also struggling to find skilled professionals to meet customer demand.

Federal data shows that the annual wage for a dressmaker/tailor/custom sewer is between $22,000 – $60,000 based on skill level and location. However, with demand outpacing supply, skilled professionals are increasingly able to command higher wages and steady work in a growing market.

At the heart of this trend is a growing awareness of sustainability. Consumers are increasingly questioning the environmental cost of mass-produced clothing and are turning toward more responsible practices. Learning how to sew empowers individuals to extend the life of their garments, reduce waste, and make thoughtful choices about what they wear. Instead of discarding a beloved piece, people are choosing to repair, alter, or reinvent it—skills that lie at the core of sewing expertise.

AI Job Displacement leads to Sewing Careers

An excerpt from University of Fashion’s lesson, Pressing Tools & Techniques. (Image credit: University of Fashion)

As artificial intelligence reshapes the workforce and displaces certain jobs, new opportunities are beginning to surface. One notable shift is in the growing demand for tailoring services, fueled in part by the rise of GLP-1 weight loss medications and the resulting need for garment alterations. At the same time, more consumers are embracing resale fashion and choosing to modify existing pieces rather than replace them—creating fresh momentum and relevance for skilled tailors.

University of Fashion’s 9-part menswear tailoring series. (Image credit: University of Fashion)

Where to Find Training?

Once a staple of high school education, home economics often served as a gateway to careers in tailoring, dressmaking, and fashion design. As these programs disappeared from school curricula and more women entered the corporate workforce, opportunities to learn sewing and garment construction in traditional classrooms declined significantly.

In response, a number of organizations have stepped in to fill this educational gap. The University of Fashion, founded in 2008, is the first and largest online fashion education platform with 550 video lessons, taught by industry professionals. Of the 500 lessons, 92 of the lessons are sewing specific and nine focus exclusively on menswear. Their lessons equip students with practical skills, enabling them to earn certificates, confidently enter the workforce and/or start their own fashion brand or bespoke/alterations business.

American Tailors & Sewing Association (ATSA) is based in Columbia, South Carolina, and focuses on establishing industry standards and providing professional development for tailors, alterations specialists, and garment construction professionals.

Association of Sewing & Design Professionals (ASDP) is based in Grandville, Michigan and supports people who sew or design professionally, offering education, certification, and networking for sewing and fashion-related careers.

American Sewing Guild (ASG) is a national nonprofit organization for people who enjoy sewing, with local chapters, online classes, and events focused on advancing sewing as both an art and a life skill.

Time to Put Out Your Shingle?

Available on Etsy: a personalized tailor shop hanging sign. (Image credit: Etsy)

Once seen as niche or old-fashioned professions, these roles are now essential in a fashion landscape that values customization and longevity. From hemming trousers to reshaping vintage finds, skilled professionals are in high demand. Bridal wear, in particular, continues to rely heavily on expert alteration specialists, while everyday consumers increasingly seek personalized fits that off-the-rack clothing simply cannot provide.

Ultimately, the return of sewing is more than a trend—it is a reflection of changing values. As consumers prioritize sustainability, individuality, and quality, the demand for skilled sewing professionals will only continue to grow. Whether pursued as a hobby or a career, learning to sew is no longer just a practical skill—it is a powerful statement about the future of fashion.

Leading the Change: Women Shaping a Sustainable Fashion Future

Francesca Sterlacci - March 14, 2026 - Current Topics in Fashion, Fashion Education, Fashion Events, Sustainability, Textiles, Women in Fashion, Women's History Month

The 2026 Women’s History Month theme, “Leading the Change: Women Shaping a Sustainable Future,” provides a timely framework for examining women’s leadership within the global fashion industry. Fashion, one of the world’s most resource‑intensive sectors, has become a key site for sustainable innovation. Increasingly, women designers, educators, and entrepreneurs are driving transformative practices that integrate environmental stewardship, economic equity, and cultural preservation into fashion’s future.

South Asia Women Leading the Charge for a Sustainable Fashion Future

Artist Darshani Patel of Thread Revival Collective, weaves together jute, wool, and other organic fibers, on a large loom. She then shapes these woven pieces into organic creations that evoke natural forms and unique textures. (Image credit: heartfullness.org)

In South Asia, Ananya Patel of India’s Thread Revival Collective integrates environmental and economic sustainability by training rural women, like Darshini Patel, to transform discarded textiles into marketable goods. Her enterprise bridges the informal economy with global fashion markets, demonstrating how circular production systems can align with poverty alleviation and women’s empowerment. Patel’s organization provides living wages and skills development, contributing to both gender equity and resource conservation.

Collectively, these examples highlight a growing paradigm in which women redefine leadership through relational, community‑centered models rather than hierarchical structures. Their work embodies ecofeminist principles that link the care of people and planet, challenging patriarchal and extractive systems long embedded in industrial fashion.

Immigrant Women in the United States Drive Sustainability

Maria Torres, creator of the fast-growing immigrant-owned sustainable fashion boutique — Marian Style. (Image credit: Latinfashionweek.com)

Maria Torres, a Salvadorian‑American designer based in Los Angeles, approaches sustainability through material innovation and collaborative supply chains. Her collections utilize plant‑based alternatives such as cactus leather and organic cotton sourced from women’s cooperatives in Oaxaca. This model exemplifies sustainable economics, redistributing value along the supply chain while reducing dependence on petroleum-based synthetics. Torres’s work also foregrounds the intersectionality of sustainability, recognizing that environmental accountability cannot be separated from social justice and labor equity.

American & European Matriarch’s of Fashion’s Sustainable Movement

Early adopters of the sustainable movement in fashion: Eileen Fisher, Mara Hoffman and Stella McCartney. (Image credit: Vogue.com)

In the U.S., sustainable design has evolved from a niche pursuit to a powerful movement shaped largely by women innovators. Designers such as Eileen Fisher pioneered circular fashion systems, extending the life of garments through repair and resale programs. Her model inspired many of us to question not only how our products are made but what happens to them after purchase. Similarly, Mara Hoffman’s commitment to transparency and regenerative fibers has shown that sustainability can coexist with commercial viability and aesthetic excellence. For emerging American designers, these examples offered both blueprint and challenge: to design garments that meet ethical, environmental, and emotional needs simultaneously.

University of Fashion’s Female Contributors to Fashion Sustainability

UoF’s Sustainable Design Series taught by Noor Bchara (Image credit: University of Fashion)

The University of Fashion has long demonstrated leadership in advancing the discipline’s commitment to sustainability through its comprehensive collection of instructional lessons led by distinguished fashion educators. Among these experts is Noor Bchara, founder of the Upcycle Design School and a recognized authority in sustainable fashion practices. Bchara has developed three foundational courses for the University of Fashion: Introduction to Sustainable Design, Sustainable Materials for Fashion Design, and Designing, Producing, and Marketing a Sustainable Collection—each designed to equip emerging designers with the knowledge and methodologies essential for responsible creative practice.

In addition to her pedagogical contributions, Bchara is an Alumna of the Arts Envoy Program, through which she collaborates with the U.S. Department of State to promote upcycling and circular design principles internationally. Her expertise is widely recognized, as evidenced by her frequent lectures at major art and fashion institutions and her participation in prominent global industry events.

Kromagnon was born in 2012 when Kristen Loung toured several textile factories in France and Italy with fellow FIT students. She began researching sustainable fabrics and practices through a scientific lens informed by her Pre-Med background at NYU. Applying an analytical approach, she examined the environmental trade-offs of various materials, discovering that even sustainably sourced fabrics often require extensive chemical processing. Her investigation culminated in a deep understanding of sustainable textile production, enabling her to source ethically aligned suppliers and manufacturers, insights that laid the foundation for Kromagnon, a brand dedicated to responsible and innovative fashion design.

Love is Mighty was a New York based luxury footwear and accessories brand committed to sustainability, Artisanal Craftsmanship and Cruelty-Free fashion. Monisha Raja, Founder and Creative Director, is a graduate of Parsons School of Design and the recipient of the P.E.T.A. Fashion Award for her dedication to Animals and Fashion. The company was dedicated to creating products that showcased an exceptional combination of modern design, innovation and ancient mastery, through collaborations with semi-nomadic tribes of the world.

Parron Allen, while not a female designer, he is worth mentioning here. Parron’s design practice embodies a harmonious dialogue between whimsy and functionality, articulating a distinctly contemporary aesthetic voice. Through his work, he reclaims the practice of upcycling as a cultural and ancestral homage to his Mississippi roots, transforming fabric remnants, discarded textiles, and thrifted garments into inventive, narrative-driven collections. Before establishing his eponymous brand in 2021, Parron Allen pursued formal design studies in both the United States and the United Kingdom and refined his technical and creative expertise at notable fashion houses including Vera Wang, Ellen Tracy, and Rebecca Taylor.

Eco Textiles is taught by Carol Brathwaite who served as an Adjunct Instructor at New York City College of Technology (City Tech), where she taught courses in textiles and fashion marketing. Drawing on over ten years of experience as a Senior Technician in Con Edison’s Chemical and Environmental Laboratory in New York, her lesson examines key innovations and contemporary developments in sustainable textile production and associated best practices and addresses ongoing efforts to reduce the environmental impact of textile manufacture, use and disposal, and considers the prospective trajectory of the global fashion industry as it continues to evolve toward greater ecological responsibility and awareness.

In Summary

From South Asia to the United States and Europe, women are redefining what it means to lead in fashion by merging creativity with conscience. Their work advances a model of sustainability that values people as much as the planet, one rooted in equity, education, and cultural continuity. Whether training rural artisans, developing next‑generation materials, or teaching the next wave of designers, these leaders are weaving a new narrative of fashion that is circular, ethical, and inclusive. Collectively, they embody the ethos of Women’s History Month 2026: not simply participating in change, but leading it, stitch by stitch, community by community.

Sewing’s Comeback is More than a Hobby — It’s a Quiet Revolution

Francesca Sterlacci - November 1, 2025 - Current Topics in Fashion, Fashion Business, Fashion Events, Fashion Innovation, Sustainability, Women in Fashion

Have you been following the news lately? Sewing is experiencing a strong comeback, with numerous recent articles highlighting its resurgence in popularity, especially among younger generations. The revival is driven by trends in sustainability, customization and personal fulfillment. It’s a reaction against fast fashion and serves both as a creative outlet and a therapeutic activity that promotes mindfulness and stress relief.

Who better to teach these new sewists? Well, University of Fashion of course!

Fashioning Identity

There are 30 million sewists in the U.S. alone, many of whom are teens and tweens. As younger generations crave both individuality and social connection, one of the best ways to get them off their screens is to send them to a sewing boot camp. Social media platforms like TikTok and Instagram have been driving interest among Gen Zers, by documenting their enthusiasm for sewing as a sustainable, expressive act, countering fast fashion with handmade clothing.

The New York Times’ Sept. 4, 2025—Article on sewing’s resurgence (Image credit: The New York Times)

Recently, The New York Times reported that sewing is “cool again”, pointing to a surge in demand for sewing classes, with people drawn to saving money, upcycling, and learning skills once associated mostly with older generations.

Harper’s Bazaar and similar outlets point to shifting cultural attitudes toward handmade garments—from “second-rate” to novel, valued, and often more expensive than off-the-rack options, driven by both quality and individuality.

Axios reported that people are flocking to sewing centers and learning how to embroider, alter and make items like tote bags, skirts and pants from scratch.

Entrepreneurial Sewing Workshops on the Rise

Looking to start your own business? If you are a great sewer and are looking for a new business idea, well, why not get a group subscription to UoF and open your own sewing workshop?

The New York Sewing Center at 246 W 38th Street, 9th Floor, Suite 9A, New York City (Image credit: The New York Sewing Center)

Inspired Sewistpreneurs

The New York Sewing Center in Midtown Manhattan, was founded by former fashion designer Kristine Frailing. She offers full day sewing boot camps, evening courses, embroidery workshops and classes on the basics of alteration.

At Carolina Textile District in Western North Carolina, workshops are being offered from basic sewing to materials sourcing and product development. CTD connects makers, designers, and entrepreneurs to a reliable domestic supply chain, so quality products can be made in the U.S.

In Washington, DC, Antoinette Lee opened her studio, A Special Lee Sewing Studio, out of her home and has been continuously offering sewing and upcycling classes.

In Miami, Jesy Anderson, owner and creator of Needle, Ink, and Thread opened her workshop in 2016. She even has a sewing class called Sew and Grow for kids.

Shop Rat, a popular weekly newsletter by Emilia Petrarca (Image credit: Shop Rat)

A promoter of fashion sustainability is journalist Emilia Petrarca who publishes Shop Rat, a newsletter featuring a Repair Month series with tips for saving your most beloved garments, including interviews with experts, personal mending adventures, and recommendations.

Eva Joan, a mending studio and one-stop -shop for alterations was founded by Bjorn Eva Park and Emma Villeneuve. Located at 28 Jane Street in New York City, the shop is named after their respective grandmothers.

Thrifting Stats — Did You Know…

According to Capital One Shopping Research:

16 to 18%of Americans shop at thrift stores each year; 12 to 15% shop at consignment or resale stores.

93% of Americans shop online for secondhand items.
In 2023, the U.S. secondhand market generated an estimated $53 billion in revenue.
There are over 25,000 resale, consignment, and not-for-profit resale shops in the U.S.
Thrift store shoppers save an average of $2,071 per year by purchasing secondhand.
Approximately one-third of clothing and apparel items purchased in the U.S. over the past year were secondhand.

So yes, sewing’s comeback isn’t just stylish, it’s a revolution!

Threads of Tradition: Honoring Hispanic Heritage Through Textiles & Embroidery

Francesca Sterlacci - October 11, 2025 - Current Topics in Fashion, Embroidery, Fashion Events, Fashion History, Sewing, Textiles

Bailarinas del Istmo – Female dancers of Tehuantepec in southern Mexico where unique folkloric dress and traditional dances are celebrated. (Image credit: Spanish Academy)

National Hispanic Heritage Month (September 15 – October 15) celebrates the diverse cultures and contributions of Hispanic and Latino Americans, highlighting ancestry from Spain, Mexico, the Caribbean, Central America, and South America.

For many, it is a vibrant celebration of the lasting influence of Hispanic voices in fashion. The richness of Hispanic culture shines through in bold textile weaving, brilliant dyeing traditions, and intricate embroidery that continue to inspire artists and designers alike. This blog is dedicated to honoring that legacy by highlighting the innovation, artistry, and beauty found in traditional textiles and embroidery of Mexico.

Textiles

Traditional Mexican textiles trace back approximately 2,500 years and were made from fibers of the yucca, palm, cotton,willow, and maguey plants. These early textiles are a key part of Mexican culture and the central piece of ancestral civilizations: the Aztecs, Mayans, Olmecs, Toltecs, Teotihuacans, Zapotecs, Mixtecs, Huastecs, Totonacs, and Purépechas, among many others. The approximately 60 ethnic groups each had their own representative Mexican textile patterns, fabric uses, and clothing styles, much like how tartan patterns are traditionally associatedwitha specificScottishclan, region, orfamily and worn as a statementof kinship, pride, andloyalty.Women using a backstrap loom to weave a traditional Mexican textile. (Image credit: Wiktionary)

The process of weaving traditional clothing in Mexico is typically performed using a backstrap loom, a weaving device where the loom is anchored at one end to a stationary object (like feet, tree or post) and the other end attaches around the weaver’s back with a strap. Treadle looms of Spanish origin are also employed, especially for weaving blankets, ponchos, and other larger items. Traditional garments made from these looms are the huipil, quechquemitl and rebozo.

Traditional Mexican garments are made from the backstrap loom and treadle loom. (Image credit: Huexotzinco and The Denver Art Museum).

A quechquemitl (pronounced kehch-keh-MEET-l) is two rectangularpieces of handwoven fabric joinedtogether, forminga V- or diamond-shaped garmentthat drapes overthe shoulders, creating pointed ends in frontand back.

A huipil (pronounced wee-peel) is a loose-fitting cap-sleeve tunic, generally made from two or three rectangular pieces of fabric joined together with stitching, ribbons, or fabric strips, with an opening for the head and arms. Huipiles are mostly made from cotton, although velvet is also used for special occasions particularly in Tehuantepec. The artist Frida Kahlo was famous for wearing both Mexican indigenous garments.

Colorful textile used to make rebozos (Image credit: Mexico1492 and Sacred Window Studies)

A rebozo is a traditional Mexican garment —a long, flat rectangle of woven fabric—worn primarily by women as a shawl, head covering, or wrap. It serves both practical and symbolic purposes, offering warmth, modesty, sun protection, and acting as a secure carrier for babies or bundles, especially among indigenous and mestizo women. Distinctive for its fringed ends (rapacejos) that are often hand-knotted into intricate patterns. It is handwoven from cotton, wool, silk, or rayon, often in ikat patterns, with regional variations in color, pattern, and weaving technique.

Sarape (Serape/Zarape)

Originating from Saltillo, Coahuila, sarapes are brightly colored, striped textiles used as blankets or ponchos that have become symbols of Mexican identity.

Oaxacan Textiles

Traditional Zapotec and Mixtec textiles from Teotitlán del Valle, Oaxaca. (Image credit: Brogan Abroad)

Oaxaca is renowned for a range of textiles featuring intricate embroidery and weaving with motifs often representing nature, mythology, and daily life. The wool used is dyed in vibrant shades of gold, red, green and blue, using natural ingredients like pecans, alfalfa, pomegranate skin, indigo, andcochinilla (cochineal) bugs.

Embroidery

Otomi Embroidery (Tenango)

Recognizable by its vibrant, animal and plant-inspired designs, Otomi embroidery is a vibrant Mexican folk art, characterized by handrawn intricate designs and mythological figures stitched in bright colors onto white fabric. It hails from central Mexico, particularly Tenango de Doria in Hidalgo. (Image Credit: OtomiMexico.com)

Oaxaca EmbroideryOaxacan embroidery styles: Tehuana (Istmo de Tehuantepec) embroidery & San Antonino Castillo Velasco embroidery. (Image credit: PieceCollectors – Textiles of Qaxaca)

Oaxacan embroidery dates to pre-Hispanic times, when artisans used agave or maguey thorns as needles. Known for rich, vibrant colors, Oaxacan embroidery it is highly diverse, with each region and Indigenous group in Oaxaca developing distinct styles, motifs, and techniques, deeply rooted in local history and identity. Two of the most popular embroidery styles from the region are:

Tehuana (Istmo de Tehuantepec) Embroidery — famous for bold, colorful floral designs, often worked on velvet or satin using a technique called “gancho” (hook), which creates tightly packed chain stitches. These textiles are closely associated with the iconic Tehuana dress, popularized by artist Frida Kahlo.

San Antonino Castillo Velasco Embroidery —known for intricate floral motifs executed using fine, marked outlines on white cotton poplin. This embroidery style is dense, with a distinct sense of delicacy and precision. Each piece may take up to a week to complete.

Whitework

Altar cloth, unknown, 19th century, Mexico. Bequeathed by Alfred Percival Maudslay. (Image credit: © Victoria and Albert Museum, London)

When Spanish conquistadores reached Mexico in 1519, they were full of praise for the achievements of spinners, dyers, weavers and embroiderers. After the conquest, Spanish needlework skills – including a wide variety of stitches, were widely taught in mission centers. Catholic nuns taught the locals and together they provided their churches with ‘whitework’, an embroidery technique where the stitching is the same color as the foundation fabric, usually white linen, and includes the technique of ‘deshilado’ or drawn threadwork. With deshilado, selected threads are pulled from the ground fabric; the rest are bound and reinforced with decorative stitching.

Shout Out to Other Hispanic & Latino Countries

While this blog primarily highlights the rich textile and embroidery contributions of Mexican culture, both past and present, I also want to acknowledge the remarkable work of other Hispanic and Latino countries. Nations such as Peru, Brazil, Colombia, Guatemala, Chile, and Argentina have each made significant contributions to the world of textiles and embroidery through their distinctive traditions, technical innovations, and sustainable practices.

Will Reshoring Garment Manufacturing Ever Be a ‘Thing’?

Francesca Sterlacci - September 18, 2025 - Current Topics in Fashion, Fashion Business, Fashion Events, Fashion History, Fashion Innovation, Fashion School, Uncategorized

Once upon a time in the distant land of “Maybe Soon,” a group of garment manufacturers decided to bring all their factories back to the good ol’ U.S.A. They called this magical idea “reshoring.” Everyone was excited—and then reality set in.

Why Factories Became Extinct

It all started in the 1970s, as brands realized that there were much larger profit margins to be had by outsourcing manufacturing to what were then known as Third World countries, India, Sri Lanka, Hong Kong, Singapore and later Vietnam, Bangladesh, Mexico, Malaysia, Cambodia and China. Gradually, domestic supply chains began to disappear like textile manufacturing, garment factories and trim suppliers. “Made in USA” garments became more expensive for consumers and fast fashion became the rage. Cheap, throwaway clothes were hard to complete with for anyone trying to produce domestically. People loved their fast fashion too much. It was cheaper to buy new than fix old, even if your favorite shirt had mysteriously acquired a coffee stain that looked like the map of Europe.

Today, when industry leaders fantasize about producing clothes domestically, you often hear statements like, “but Americans can’t work like the Chinese”, meaning long hours and for cheap labor. The only products that can be made in the U.S.A are luxury-priced merchandise where price is no object. Can we change this?

Maybe Soon—Maybe Never

While our current government regime promises that by imposing blanket tariffs on countries, it will bring manufacturing back to the states. Not so fast, especially not for the garment business. Why? Because reshoring at scale faces significant structural, economic, and logistical challenges that make a large-scale shift unlikely under current conditions. Key challenges include:

High labor costs: U.S. labor standards and minimum wages mean the cost to produce a basic T-shirt domestically can be several times higher than sourcing from low-wage countries like Bangladesh or Vietnam. This makes most “Made in USA” garments more expensive for consumers.
Lost infrastructure and supply chains:Decades of offshoring have eroded the once-robust American garment supply network, including mills and finishing operations. Many key inputs (fabrics, buttons, zippers) are now almost entirely imported, creating further dependence on global supply chains.
Limited manufacturing capacity:The small size and limited capacity of remaining U.S. factories means they cannot currently meet the vast demand of the domestic market. Large-scale reshoring would require substantial new investment and workforce development.
Skills and workforce shortages:There are few skilled garment workers available, and vocational training programs have declined, creating bottlenecks for companies wanting to expand domestic operations.
Higher regulatory and compliance burdens:S. labor and environmental regulations, while protecting workers and the environment, increase compliance costs and bureaucratic complexity for manufacturers.

To accomplish the goal of reshoring, fashion industry leaders must lobby Washington. Our government will need to subsidize and help replace lost supply chains and infrastructure, as well as provide adequate training and guarantee a livable wage to factory workers. They will also need to invest and fund:

Technological advances: Automation, robotics, and 3D knitting can offset some labor costs, especially for custom, small-batch, or just-in-time production. In the past the government has funded scientific research, solar power and electric cars. Why not the fashion industry?
Policy support: There are legislative efforts, such as the proposed FABRIC Act, to incentivize domestic production through tax credits and grants but it’s not enough. Much more needs to be done.

In summary, while tariffs and restrictive trade policies may provide short-term protection and spur limited investment in homegrown manufacturing, their overall effectiveness is mixed and highly contingent on the structure of supply chains, the responsiveness of domestic industries, and international retaliation. Most evidence indicates that they are best used narrowly, as part of a targeted suite of industrial policies, rather than as a broad solution for revitalizing homegrown manufacturing at scale.

When and if Washington gets serious about reshoring, University of Fashion will be here to help train those who are ready, willing and able to Make America Stitch Again!

Hey, remember the good old days when your clothes didn’t come with a side of “where in the world was this really made?

Runway Revelations: Where Do Designers Actually Get Their Inspiration?

Francesca Sterlacci - August 30, 2025 - Costume Exhibitions, Current Topics in Fashion, Fashion Events, Fashion History, Trends

Alexander McQueen collection inspired by Leigh Bowery Autumn/Winter 2009, titled “Horn of Plenty.” (Image credit: vogue.com)

Fashion designers don’t just wait for inspiration—they chase it like it’s the last slice of pizza at a fashion week afterparty. Sure, their process sounds elegant, but at heart, it takes talent, skill, tons of research and a thing called a Process Book to help them develop their ideas. Being inspired isn’t just about people-watching mixed with Pinterest marathons, or copying some bold teenager’s outfit and calling it couture. It’s a process.

In a previous blog, guest writer Annabella Lawlor covered the six ‘must see’ fashion museum exhibitions for 2025 as great sources of inspiration for fashion designers. This week I’ll expand on the topic of inspirational sources and how designers organize their ideas that later turn into product. It starts with the Process Book.

The Process Book

University of Fashion’s lesson on How to Create a Process Book by Nicole Bisono

Designers are like walking sponges, always in tune with their surroundings. With brains that process information like mini-computers, designers are constantly observing and engaging. They dive into books, music, films, art, architecture, are hyper-tuned into cultural events and politics, and even travel to remote places to find inspiration. Everything that sparks an idea gets recorded in a thing called a Process Book.

They take photos, hoard fabric scraps, collect flowers or other interesting tidbits and scribble tons of design details. They endlessly sketch things that can later be used in future collections. It becomes a treasure chest full of ideas.

Did you know that sometimes a prospective employer will require a job applicant to show their process book? It’s a great way for a company to see the designer’s creative thought process.

Interesting Sources of Inspiration

Olivier Rousteing for Balmain’s 2012 Fabergé egg-inspired collection (Image credit vogue.com)

Among the objects that have provided inspiration include the Fabergé egg from the 19th and early 20th Russian court. Under the creative direction of Olivier Rousteing, the Balmain Fall/Winter 2012 collection was heavily inspired by the opulent and intricate artistry of these eggs, which today can be worth millions of dollars, in fact some exceeding $30 million. This collection translated the grandeur of the iconic eggs into elaborate clothing designs, featuring meticulous embellishments, crystals, pearls, and golden threads.

Dolce & Gabbana’s playing card inspiration in their Spring 2018 collection (Image credit: in digital.tv)

Another inspiring object is the playing card. In 2018, Dolce & Gabbana’s Spring 2018 collection, titled Amore e Bellezza (Love is Beauty), drew inspiration from the Queen of Hearts, a romantic 1950s aesthetic, and elements of Italian food and family tradition. The show featured a lavish set with giant playing cards and a carpeted runway, with models adorned in clothing and accessories reflecting these themes.

Artists Inspiring Artists
(Image credit: agnuacouture.com)

Sometimes fashion designers are inspired by artists. One of the most popular sources of inspiration has been Australian-born performance artist Leigh Bowery (1961-1994), who became one of Britain’s most heroically ambitious, yet underappreciated designer/performance artists. Bowery’s work has had a profound impact on designers beginning in the 80s & early 90s, inspiring designers such as Jean Paul Gaultier, John Galliano, Gareth Pugh, Alexander McQueen, Maison Martin Margiela and many others.

(Image credit: agnuacouture.com)

Bowery used sexuality as his primary mode of artistic expression. His work continues to be a treasure throve of inspiration for fashion designers up to the present day.

Leigh Bowery-inspired collection by John Galliano (Image credit: Steven Meisel for Vogue)

Through his outrageous costumes, dramatic masquerades, and theatrical cross-dressing, Bowery pushed the boundaries of fashion and the body.

(Image credit: agnautacouture.com)

Bowery significantly influenced numerous artists across various disciplines, including musicians like Boy George, Antony and the Johnsons, Lady Gaga, and Scissor Sisters. Bowery’s distinctive physiognomy with exaggerated red lips and other bold, sculptural references are all iconic Bowery looks. This influence is widely recognized within the fashion industry for its theatricality and vivid, avant-garde aesthetics directly channeling Bowery’s irreverent style and creativity.

A Leigh Bowery-inspired look from Maison Martin Margiela (Image credit: agnautacouture.com)

For more on this kitch artist, read last week’s UoF blog, where we covered the Leigh Bowery! exhibition at the Tate Modern, which showcases his “Looks” and collaborations with other artists.

Top 6 Must See Fashion Exhibitions in 2025

Annabella Lawlor - August 4, 2025 - Bespoke Tailoring, Costume Exhibitions, Current Topics in Fashion, Fashion Events, Fashion History, Field Trip

Paul Poiret: Fashion is a Feast at the Musée des Arts Décoratifs, in Paris, France (Image credit: Christophe Dellière for the Musée des Arts décoratifs – www.madparis.fr)

As summer comes to a close, the seasons change, and so do global exhibitions. Museums around the world carry some of the most significant artifacts in textile history. Gallery exhibitions represent a moment in time, a reflection on the past that transports crowds into temporally defying spaces. Working to preserve pieces as time works against their construction, museums beautifully conserve garments as art pieces themselves, detailing the history of expression through their design and function. Here are some fashion exhibitions, current and upcoming, that are worth visiting this year, beginning with what’s on now:

Paul Poiret: Fashion is a Feast at the Musée des Arts Décoratifs, in Paris, France – Until January 11, 2026

Home to one of the largest collections of Paul Poiret works, the Musée des Arts Décoratifs in Paris pays homage to the designer’s extensive history in the fashion world. Featuring a diverse range of his creations—clothing, accessories, and decorative art—the show showcases his boundless creativity, both in medium and form. Often regarded as a significant influence in popularizing the corset-less free silhouette, Poiret’s designs reflected the spirited, charismatic, and theatrical essence of the early twentieth century. With his disregard for constrictive clothing, the sumptuous drapery of his silky silhouettes remains resonant in today’s cultural sphere.

Superfine: Tailoring Black Style at The Metropolitan Museum of Art, in New York City – Until October 26, 2025

Superfine: Tailoring Black Style at The Metropolitan Museum of Art (Image credit: The Metropolitan Museum of Art, metmuseum.org)

On the first Monday of May, celebrities walked the Metropolitan steps in sleek tailoring while attending the annual fundraiser for the Costume Institute. Beneath the spectacle of flashing cameras and timed poses, the Met Gala also marked the opening of the Institute’s new exhibition, Superfine: Tailoring Black Style. One of the most finely curated shows to date.

The powerful exhibition chronicles the evolving image of dandyism as a reclamation of power following the systemic oppression of American enslavement. With a collection ranging from zoot suits to velvet overcoats to modern casualwear, Superfine draws attention to the unrecognized historical importance of black garmenting. Its thoughtful arrangement of historical garments beside their contemporaries wonderfully displays the sharp grandeur and overwhelming influence of black dandyism.

Leigh Bowery! at Tate Modern, in London, UK – Until August 31, 2025

Leigh Bowery! at Tate Modern, London ((Image credit: Temilade Adelaja for the guardian.com)

Outlandish. Psychedelic. Kitsch. Artist and designer Leigh Bowery was boundary-breaking. The Tate Modern’s recent retrospective chronicles the many works of the late Bowery. In exploring the mediums of performance art, music, and fashion, his status as a remarkable artist and Queer icon came from his defiance of normalcy and exuberant vitality. The show pairs his clothing designs with their accompanying mediums, allowing his creations to thus become extensions of performance themselves. The bold to the point of tacky, exaggerated to the point of gross, Leigh Bowery!remarkably captures the essence of these pieces: that life is a stage for the many characters in which our body takes form.

Later this year

Virgil Abloh: The Codes at the Grand Palais, in Paris, France. September 30th – October 10, 2025

Virgil Abloh: The Codes at the Grand Palais, Paris (Image credit: virgilabloh.com)

September 30th marks two dates: the opening of the design retrospective Virgil Abloh: The Codes, and the day that would have been Abloh’s 45th birthday. Drawing from the 20,000-object collection, The Virgil Abloh Archive chronicles his accomplishments as a multidisciplinary artist, creative director, and cultural figure. Located in Paris, the city where he carried out much of his work, the approaching Grand Palais exhibition highlights his unending impact on the zeitgeist of modern menswear. With over 1,000 sketches and prototypes of his clothing and shoe designs to be shown to the public, The Codes will soon tell the story of Virgil Abloh’s creative process and his vast legacy in contemporary design.

Dirty Looks: Desire and Decay in Fashion at Barbican Art Gallery in London, UK. September 25, 2025 – January 25, 2026

Robert Wun, Yellow Rose, Haute Couture Autumn/Winter 2024. (Image Credit: Ellen Sampson for Barbican.org.uk)

The average clothing consumer often thinks of dirt as an unwanted stain upon one’s purchases. But to some, it becomes the spirit of the garment. It certainly embodies the spirit of the Barbican Art Gallery’s upcoming show. Dirty Looks questions the perceived objectivity of “beauty” by platforming material decay and destruction. Featuring clothing from over sixty designers, the curators set out to explore the diverse interpretations of weathered objects. Some pieces incorporate raw materials as a return to the garments’ origin from Earth, while others explore the fallibility of meticulous construction through dishevelment. Dirty Looks navigates the relationship between body and Earth, grounding the viewer through textile deconstruction.

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