Struggle through the somewhat turgid first chapter and Angela McRobbie, writing primarily for cultural studies lecturers and students, goes on to examine some of the problems experienced by fashion design as a serious and academically acceptable discipline in the context of the uniquely British art-school system. She does not, however, mention the sheer over-provision of fashion courses and the excessive numbers of undergraduates with unrealistic ambitions to establish their own label. In addition to the normal practice, certainly within the modular system of offering all students options for subjects not directly connected with their chosen discipline, they are all normally required to study the techniques they will need as practising designers. These include pattern cutting, making, knit and perhaps textile print, millinery, jewellery or embroidery. Cultural studies is as essential as fashion business studies, and communication skills as important as knowledge of and exposure to the fashion industry. In other words, multi-skilling is indeed the norm. Only the highly motivated and able student would be actively encouraged to set up a business on his or her own immediately after graduation.
The author does not appear to recognise that the creative process continues from the original idea through all the processes required to complete the finished product, sold and worn by a customer. As Betty Jackson says: "My biggest thrill is to see one of my designs worn by someone walking down the street." Fashion design education is failing if it does not place creativity and originality on the same level of importance as the necessary techniques, transferable skills and understanding of the industry the graduate hopes to enter. And it is an industry, like architecture, graphic design, film or photography, where graduates would initially expect to seek employment rather than go it alone.
McRobbie is correct in regarding the mainstream and mass-market clothing industry as being suspicious of the recently qualified fashion design graduate. The industry seldom offers the kind of graduate training commonly offered to graduates of non-vocational disciplines. But there are many highly respected designers, working closely with fashion education, who work in extremely rewarding and well-rewarded senior positions for well-known high street names, such as Sylvia Ayton at Wallis, and Sheilagh Browne, head of fashion design at Marks and Spencer.
I cannot agree with the author's case-study conclusions that to work overseas is likely to be a bad experience. The haute couture is a very small and obviously elitist section of the overseas market, but British designers have done very well heading up studios at Maxmara, Escada and Ralph Lauren, among many other top-of-the-range ready-to-wear companies.
McRobbie's case-studies form a tiny sample of graduate experience - all but one being of would-be entrepreneurs. British fashion design cannot be limited to this segment. It is sad to see her repeatedly giving the same three examples, Alexander McQueen, John Galliano and Vivienne Westwood, as unique success stories. Certainly, the first two are darlings of the fashion media, but how long will that last as notoriously fickle fashion journalists constantly seek novelty and the next fashion star?
While agreeing with her views on fashion journalists as image-makers who lack a serious critical view of the subject, I must say that fashion has bred some superb writing from those such as Colin McDowell, Sally Brampton and Brenda Polan. As Katherine Whitehorn says: "A good writer can write on any subject." She should know, having done her fashion stint with The Observer before moving on to other fields.
Lindsay Rosenhead is a design consultant and formerly head of fashion, University of Westminster.
British Fashion Design: Rag Trade or Image Industry?
Author - Angela McRobbie
ISBN - 0 415 05780 9 and 05781 7
Publisher - Routledge
Price - ?40.00 and ?12.99
Pages - 208
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