The graduate shows each May, which are considered the designer's final exam, are not only a way to mark academic progress but also a chance to network, create a portfolio, and potentially find future job opportunities. However, due to the coronavirus outbreak in Europe and subsequent lockdown in Britain, the school closed and the final show was canceled. Instead, students were given the opportunity to present two looks and a 90-second video in a digital presentation on June 17. This change has been particularly challenging for 24-year-old Ives, an ambitious American who has his own label and has worked with Rihanna's fashion brand, Fenty. Ives, who has diabetes, reflected on the challenges brought about by the pandemic while isolated in his apartment for three months. He questioned whether he would have pursued a postgraduate degree if he had known years ago that he would graduate without a degree show and have to be taught remotely for an extended period. This sentiment is shared by many students who are reconsidering the value of higher education due to the disruptions caused by the pandemic. Universities worldwide are facing layoffs and financial uncertainties as students, including those interested in fields like fashion, weigh the high tuition fees against the uncertain global climate. In the past, obtaining 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 worthwhile investment despite the high cost. Fashion education has seen significant growth in recent years, with a variety of courses being offered by well-known institutions and new private schools like the Condé Nast College of Fashion & Design. These programs offer specialized courses, networking opportunities, and internships. However, the COVID-19 pandemic has led to travel restrictions and a decrease in enrollment. "We are anticipating a decrease in revenue next year and are being practical about it," said Valérie Berdah Levy, director of the Paris campus of Istituto Marangoni, a private Italian fashion and design school that counts Domenico Dolce and Alessandra Facchinetti among its alumni. Berdah Levy noted that some students are hesitant to travel to Europe and uncertain about when borders may reopen. She also acknowledged that some parents may be facing financial or health challenges that could affect their resources. The adjustments made by art schools earlier in the year due to the pandemic may influence their plans for the upcoming fall semester. 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 for RCA2020, where each student will have their own page. This platform is set to launch between July 16-31. One positive aspect of the current situation is that the quality of industry speakers has improved significantly, as virtual events make it easier for anyone to participate. This has led to engaging discussions on how to use the pandemic as a catalyst for meaningful industry change. Recent events have featured speakers such as Sir Jonathan Ive, Virgil Abloh, and Olafur Eliasson. 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 renowned figures in the fashion world 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 work online to panels 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 touching fabrics, and some struggled to adjust to working from home. We have shifted our focus from simply completed final collections to how designers respond to crises. It remains to be seen if 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 have become increasingly reliant on tuition fees from Chinese students, which are higher than those paid by local students. Due to ongoing travel restrictions and growing dissatisfaction among Chinese students and parents with the West's lax approach to public health, there are concerns that enrollment levels could decline after years of growth. Sir Nigel Carrington, vice-chancellor of the University of the Arts London, noted that international acceptances are currently on par with last year, but there are worries about actual enrollment numbers. Out of a student body of 20,000, around 3,000 are Chinese, with a roughly equal split between British and international students across the six colleges. The government sets a limit of approximately $11,500 on annual fees for British students, while international students face fees of around $25,000. Flights to Britain from countries like China are not set to resume until at least August. Many students are facing delays in starting the fall term due to difficulties in completing the necessary language test required by the British government. Additionally, there are concerns about a potential second wave of coronavirus in the fall, along with other challenges. A fee increase related to Brexit is expected in 2021, which could lead to a surge in enrollment of students from the European Union before the change takes place. This may help counterbalance the decline in Chinese enrollment, but only temporarily. Carrington stated that their institution is highly regarded for art and design, so there is still a demand for their courses. However, less competitive schools may face more serious consequences from the pandemic. As universities try to reduce costs, many lecturers, especially those on temporary contracts with limited benefits, are at risk of unemployment. The impact of layoffs and contract non-renewals at British arts universities could disproportionately affect women and people of color, as reported in The Art Newspaper on June 22. In fashion education, the identity of the teachers could play a significant role in students' decision-making process, especially at a time when there is a push for better representation and diversity within institutions. Despite uncertainties about next year's demand, schools like Antwerp are aware of the fear many young people are experiencing worldwide. While acknowledging the need to continue with education, there is also a recognition of the challenges students face in completing their portfolios and finding employment opportunities in fashion studios during the pandemic. Several smaller luxury brands such as Sies Marjan and Peter Pilotto have shut down recently, leading to many seamstresses and patternmakers being laid off or put on furlough even by the biggest fashion houses in countries like France and Italy. "I have experience working for large companies, so my original plan was to graduate and focus on my own label," explained Ives, a Central Saint Martins graduate. "However, the risks of starting a business during a major recession are significant. I am uncertain about my future plans, as are many of my peers." (© 2020 The New York Times Company)