Category "Textiles"

What I Learned After 25+ Years as a Fashion College Professor — Part Two

This week’s blog continues my two-part series reflecting on what I learned over more than 25 years as a fashion college professor. My career included 17 years teaching at the Fashion Institute of Technology, followed by 3 years as Chair of the Fashion Design department, and later 6 years teaching graduate-level fashion design at the Academy of Art University. Throughout that time, I had a front-row seat to students’ journeys into the fashion industry, observing how they navigated everything from the application process to making the most of their education once accepted.

In Part One, I focused on helping prospective students understand how to choose and apply to fashion colleges. In Part Two, I shift my focus to fashion educators, offering insight into how they can support students in thriving and creating a meaningful, positive experience once they begin their studies.

Student Insecurities

I still vividly remember my own first day at FIT as a student. Sitting in a class of 200 students selected from a pool of 2,000 applicants, I felt both grateful and overwhelmed. Alongside the excitement came a wave of insecurity: Was I talented enough? Could I keep up with the workload? Had the school made a mistake in accepting me?

That uncertainty quickly eased thanks to my professor. She welcomed the class warmly, invited each of us to introduce ourselves and share where we came from, and immediately created a sense of belonging. She then reviewed the syllabus, emphasized the importance of deadlines, explained attendance and grading policies, and opened the floor for questions.

Throughout my years of teaching, I adopted this same approach. I found that students are far more likely to succeed when they clearly understand expectations from the outset. In later years, the department introduced a detailed grading rubric outlining the criteria for each grade level (A, A-, B, B-, C, C-, D, F). Students were asked to sign this document, which not only helped manage expectations but also supported faculty in addressing the challenges of grade inflation.

Access to Tutoring

University of Fashion — the perfect answer to the tutor and upskilling problem. (Image credit: University of Fashion)

As school budgets continue to tighten, many fashion programs have had to eliminate the free tutoring services they once provided. I remember during my time at FIT, top-performing students were hired to support peers who needed extra help managing the workload. Faculty also made themselves available before and after class to guide struggling students. However, union regulations requiring additional compensation for extra hours, combined with budget constraints, gradually brought these valuable support systems to an end. Today, many students are left to navigate these challenges on their own.

That gap is exactly what inspired the creation of University of Fashion. In 2008, I set out to support aspiring fashion students—first by helping them prepare for the fashion school application process, and then by building a comprehensive library of lessons taught by leading fashion college professors and industry professionals. The goal was not only to provide accessible tutoring for students, but also to empower educators.

University of Fashion gives teachers the tools to expand their curriculum and refine their skills without needing to return to school. With limited time and resources, many faculty members benefit from the flexibility of learning and teaching enhancement from home.

UoF Lesson Disciplines

UoF’s 13 different lesson disciplines. (Image credit: University of Fashion)

Today, University of Fashion offers over 550 lessons across 13 disciplines, including Draping, Sewing, Patternmaking, Accessories, Childrenswear, Menswear, Knits, Product Development, CAD Fashion Art, CAD Patternmaking, Fashion Business, and a wide range of Fashion Lectures covering topics such as A.I for Fashion Design, Costume History, Color Theory, Textile Design, Fabric Studies, Sustainable Design, and many more. We support hundreds of fashion students worldwide while also helping educators broaden their teaching scope.

Testimonials

Don’t just take our word for it—explore some of what our students and educators have to say.

Just a few of our many testimonials. (Image Credit: University of Fashion)

Complement not Replacement

It is important to note that University of Fashion was founded as a complement to, not a replacement for, fashion college education. Our mission was to inspire anyone interested in a career in the fashion industry and to preserve the art & craft of fashion for current and future generations. As we celebrate our 18^th anniversary, we are proud that we have succeeded in being the first and largest online fashion education resource, not only for aspiring designers, current fashion school students and teachers, but as a resource for anyone who is curious about a fashion career.

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.

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.

University of Fashion Blog