The graduate shows in May, which are like a final exam for designers, are not just a rite of passage but also an opportunity to network, make industry connections, and possibly secure future job opportunities. However, this year was different due to the coronavirus pandemic. The school closed, lessons moved online, and the final show was canceled. Instead, a digital presentation on June 17 was held, where each student could only showcase two looks and a 90-second video. For 24-year-old Ives, an ambitious American who has his own label and has worked at Fenty, Rihanna's fashion brand, the past two months have been challenging. Ives, who has diabetes and spent three months isolated in his apartment working on his pieces, reflected on the challenges posed by the pandemic. He questioned whether he would have pursued a postgraduate degree if he had known four years ago that he would graduate without a degree show and be taught remotely for months. Many other students are also reconsidering their educational paths due to the disruptions caused by the pandemic, which have led to a shift to remote learning and raised doubts about the future of higher education. Top universities are facing staff layoffs and a reassessment of financial projections as international students grapple with the uncertain global climate and high tuition fees. Students of all backgrounds, including those interested in fashion, are now thinking twice about pursuing a college education. In the past, earning a degree from prestigious fashion schools such as Central Saint Martins, Royal College of Art, Parsons, F.I.T., and Royal Academy of Arts has been seen as a valuable investment despite the high cost. The fashion education industry has seen significant growth in recent years, offering a wide range of courses from both well-known institutions and new private schools like the Condé Nast College of Fashion & Design. However, the COVID-19 pandemic has led to travel restrictions and decreased enrollment numbers. Valérie Berdah Levy, director of the Paris campus of Istituto Marangoni, acknowledged that their revenue will be lower next year. Some students are hesitant to come to Europe due to travel restrictions, while others are uncertain about when borders will reopen. Berdah Levy also noted that some parents may be facing financial or health challenges that could affect their resources. The adaptations made by art schools earlier this year in response to the pandemic may influence their plans for the fall. Zowie Broach, head of fashion at London's Royal College of Art, mentioned potential changes such as focusing on presentation and research at the beginning of the academic year and teaching digital skills needed for remote work. Broach's graduates are currently working on a digital discovery platform called RCA2020, where each student will have their own page. The platform is set to go live between July 16-31. Despite the challenges of the new reality, there have been some positive aspects, such as having access to higher caliber speakers from the industry through Zoom. This has led to more ambitious debates on using the pandemic as a motivator for meaningful industry change. Recently, speakers like Sir Jonathan Ive, Virgil Abloh, and Olafur Eliasson have participated in events. Walter van Beirendonck, head of fashion at the Royal Academy of Fine Arts in Antwerp, organized digital "blind dates" for his master's students with fashion stars like Stephen Jones and Raf Simons. This year at the Savannah College of Art and Design in Georgia, fashion and accessory graduates showcased their final projects online to a group of 50 industry judges, including designer Christopher John Rogers and Bruce Pask, the men's fashion director of Bergdorf Goodman. Michael Fink, the school of fashion dean at SCAD, acknowledged that students missed being together and handling fabrics, and some faced difficulties adjusting to remote work. We have shifted our focus from just completed final collections to how designers respond to crises. It remains to be seen whether fashion students, especially those from China, who have expectations beyond just obtaining a degree will appreciate these changes. Universities in English-speaking countries, such as Britain, Australia, and the United States, heavily rely on tuition fees from Chinese students, which are higher than those paid by local students. There are concerns that enrollment levels may decrease due to travel restrictions and Chinese students' dissatisfaction with the West's approach to public health. Sir Nigel Carrington, vice-chancellor of the University of the Arts London, mentioned that international acceptances are currently on par with last year, but there are worries about actual enrollments. Out of a student body of 20,000, around 3,000 are Chinese, with an equal split between British and international students across the six colleges. The government sets a limit of approximately $11,500 for annual fees for British students, while international students face fees of around $25,000. Flights to Britain from China (and other countries) are not expected to resume until at least August. Many students are facing delays in starting the fall term due to difficulties in taking the required language test for working or studying in Britain, caused by a backlog in applications. Some scientists are forecasting a potential second wave of coronavirus in the fall, adding to the challenges facing students and universities. In 2021, there will be an increase in fees related to Brexit, leading to a potential rise in enrollment of European Union students before the fee hike takes effect. This may help offset the decrease in Chinese enrollment, but only temporarily. Despite this, Carrington noted that their institution is highly respected for art and design courses, maintaining demand. Less competitive schools may face more serious consequences from the pandemic, with potential unemployment for lecturers, especially those on temporary contracts. An article in The Art Newspaper on June 22 highlighted that job cuts and non-renewed contracts in British arts universities could disproportionately impact women and people of color. During a time when fashion education is emphasizing the need for better representation and diversity, the identity of the instructors teaching students could play a significant role in their decision-making process. According to van Beirendonck from the Antwerp school, the uncertainty of future demand is causing concern despite their selective intake. While acknowledging the fear felt by young people worldwide, it is important for colleges to continue providing education for those aspiring to become successful fashion designers. Carrington mentioned that graduating students may have limited access to workshops to complete their portfolios due to lockdown measures being eased. However, employment opportunities in fashion studios have decreased since the beginning of the pandemic. In recent months, some smaller luxury brands such as Sies Marjan and Peter Pilotto have shut down, while many seamstresses and patternmakers have been laid off or put on furlough by even the largest fashion houses in countries like France and Italy. A Central Saint Martins graduate named Ives, who had planned to focus on their own label after working in big companies, is now uncertain about the risks of starting a business during a major recession. Many of their peers are also unsure about their future plans.