The graduate shows held each May, which are considered to be a designer's final exam, are more than just a rite of passage for students - they also provide an opportunity to network, create a portfolio, and potentially secure future employment. However, this year was different due to the coronavirus pandemic. The school closed, lessons shifted online, and the final show was canceled. Instead, a digital presentation was scheduled for June 17, where each student could showcase only two looks and a 90-second video. For 24-year-old Ives, an ambitious American who has already started his own label and worked with Rihanna's fashion brand, the past two months have been challenging. "We have all tried our best to overcome the challenges brought on by the pandemic," said Ives, who has diabetes and spent three months isolated in his apartment working on his projects. "It has led me to reflect on some important questions. One of them is, if I had known four years ago that I would be graduating without a degree show and learning remotely for months, would I have still pursued a postgraduate degree?" Ives is not alone in considering this question. The pandemic has caused widespread disruptions in universities around the world, resulting in a shift to remote learning and uncertainties about the future of higher education. Even prestigious institutions are facing layoffs and reassessing their financial projections as international students reevaluate their options in the current global climate. Students of all ages and backgrounds, including those interested in fashion careers, are now reconsidering the value of pursuing a college education. In the past, obtaining a degree from prestigious fashion schools like Central Saint Martins, Royal College of Art, Parsons, F.I.T., and Royal Academy of Arts has been a costly yet beneficial investment for individuals entering the highly competitive fashion industry. The fashion education sector has seen significant growth in recent years, aligning with the industry's expansion. A variety of courses are now available from well-known institutions and new private schools such as the Condé Nast College of Fashion & Design, offering specialized programs, networking opportunities, and internships. However, the coronavirus pandemic has led to travel restrictions and decreased enrollment numbers. Valérie Berdah Levy, the director of the Paris campus of Istituto Marangoni, a private Italian fashion and design school, acknowledged the reality that their revenue will decrease next year. Some students are concerned about traveling to Europe, while others are unsure when borders will reopen. Berdah Levy also noted that some parents may be facing financial difficulties or health issues that could affect their resources. Art schools are looking to the adaptations made earlier this year in response to the pandemic to guide 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 for remote work. Broach's graduates are currently working on a RCA2020 "digital discovery platform" where each student will have their own page, set to launch between July 16-31. One positive aspect of the current situation is that the quality of industry speakers has improved as anyone can participate in Zoom events. This has led to extraordinary speakers and more ambitious discussions on using the pandemic as a catalyst for industry change. Recently, high-profile figures like Sir Jonathan Ive, Virgil Abloh, and Olafur Eliasson spoke at an event. Walter van Beirendonck, head of fashion at the Royal Academy of Fine Arts in Antwerp, arranged 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 work to a group of 50 industry judges, including designer Christopher John Rogers and Bruce Pask, the men's fashion director of Bergdorf Goodman, in a virtual setting. Michael Fink, the school of fashion dean at SCAD, acknowledged that students missed the experience of being together and touching fabrics, and some had difficulty adjusting to the challenges of working from home. We have shifted our focus from only looking at completed final collections to how designers respond to crises. It is uncertain whether fashion students, especially those from China, who expect more than just a degree from their university experience 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. Due to ongoing travel restrictions and growing dissatisfaction among Chinese students and parents towards the West's lax attitude towards public health, there are concerns that enrollment levels may decrease after years of growth. Sir Nigel Carrington, vice-chancellor of the University of the Arts London, expressed that international acceptances are currently on par with last year, but there is still worry about actual enrollment numbers. The University of the Arts London has around 20,000 students, with approximately 3,000 being Chinese students, and a nearly equal split between British and international students across its six colleges. The British government sets a limit of approximately $11,500 for annual fees for UK students, while international students face fees of around $25,000. Flights to Britain from countries like China are not expected to resume until August at the earliest. Many students are unable to take the required language test due to a backlog in applications, leading to a delayed start to the fall term. Some scientists are forecasting a potential second wave of coronavirus in the autumn, adding to the challenges faced. A rise in fees related to Brexit is expected in 2021, which could lead to an increase in students from the European Union enrolling before the change, balancing out the decrease in Chinese enrollment - at least in the short term. Despite this, the demand for courses at their art and design institution remains high due to their reputation. However, less competitive schools may face more serious consequences from the pandemic. As universities try to save money, many lecturers, especially those on temporary contracts, are at risk of losing their jobs with limited benefits. An article in The Art Newspaper on June 22 stated that layoffs and non-renewal of contracts at British arts universities may disproportionately impact women and people of color. In the midst of calls for greater representation and diversity in fashion education, the identity of the instructors teaching students could play a significant role in their decision-making process. Despite uncertainties about future demand, schools must be aware of the fears young people around the world are facing. While acknowledging the need to continue with education and pursuing career goals, the pandemic has made employment opportunities in fashion studios even more limited. Graduating students may have the chance to access workshops over the summer to complete their portfolios, a crucial aspect of job searches. Several smaller luxury brands such as Sies Marjan and Peter Pilotto have shut down recently, while many seamstresses and patternmakers have been laid off or put on furlough even by the largest fashion houses in countries like France and Italy. "I've worked for big companies before, so my original plan was to graduate and focus on my own label," said Ives, a graduate of Central Saint Martins. "However, the risks of starting my own label during a major recession are significant. I am still unsure of my next steps, and many of my peers are in the same boat."