Студенты модной индустрии сталкиваются с ростом неоплачиваемых стажировок и сложностями при трудоустройстве

At the start of the new academic year, Drapers asks fashion students and their educators how they are preparing for careers in the industry. This month marks the start of a new fashion season and a new term for those waiting to take their first steps into the fashion retail industry. But today’s students face a challenging employment landscape. Overall job vacancies are declining: the Office for National Statistics reported that payrolled employees in the UK in June declined by 71,000, or 0.2%, year on year to 30.3 million, while in his first few days in office,   prime minister Andy Burnham declared “Britain will value the hard hat as much as the graduation cap”, in a bid to tackle the 1 million 16-to-24-year-old NEETs (those not in education, employment or training) in the UK. And amid the interminable cost of living crisis, students are increasingly analysing the cost/benefit of attending higher education and want a clear pathway to employment to reflect the investment in their future. The students Drapers speaks with note the prevalence of unpaid work experience placements, which – while invaluable for networking, and gaining experience and a foot in the door – often involve high travel fees and absence from paid part-time employment. Some also report a pattern of applying for full-time jobs only to be eliminated by an artificial intelligence-powered recruitment process or, if they proceeded to interview, left without feedback for months. Universities and higher education institutions tell Drapers that cost of living is “one of the biggest concerns for students”. They are preparing students to be versatile in their disciplines and to make themselves vital to employers, but also warn that the fashion industry is “being topped up by unpaid internships”. Both students and institutions say the industry can protect its pipeline of talent by providing paid work experience placements and engaging with students during study, giving feedback after interviews, and making entry level job descriptions realistic and attainable. Edinburgh College of Art is part of the University of Edinburgh. Director of fashion Mal James prepares his BA Fashion students for the world of employment by ensuring a diversity of skills and an understanding of both creative and commercial projects. “I keep quite strictly to this vision, which is that they have to learn everything properly:  the cutting, the making – not just the design.” He explains that there are “increasing levels of intake for fashion students”, which is “great”: “But I don’t think the job market is being taken on board in terms of students coming out of [graduating] colleges. Our responsibility is to give them the best shot that we can. In student collections we will discuss what you would sell and to which market.” He is also realistic with his cohorts about the time it might take to reach top positions at fashion businesses. A former graduate (2003-07), Zoe Donald, is now women’s ready-to-wear director at Bottega Veneta, under creative director Louise Trotter – almost 20 years after graduating. James says: “For us it’s about dispelling the idea that students think that they will go straight into a top position somewhere and demystifying that, but actually saying some of those positions are really attainable.” He explains that the BA Fashion course provides versatility, no matter which route students want to take: “We should also nurture each student into the direction they want to go in and not necessarily use the big brands as a benchmark of success – [for example] if you want to go into marketing, comms, buying, merchandising, retail … our students have a good shout when they get out there, for adaptability.” A clear path up the career ladder Rachel Parker-Strak, reader in fashion buying and merchandising, and associate dean for digital and flexible learning at the University of Manchester agrees that “cost of living remains one of the biggest concerns for students”: “Many balance part-time employment alongside full-time study, which inevitably places additional pressure on their time and well-being.” She adds that students want to see a return on investment, and so are attracted to courses such as fashion buying and merchandising, fashion marketing and fashion management, as “they offer a clear connection between academic study and career opportunities”. At London’s Fashion Retail Academy, which offers vocational training for ages 16 to 24, associate director of industry relationships Sarah Hansford says: “There is still an excitement about buying. Merchandising does lag behind, but a lot of that is [because] until you get into it, it’s not as obvious what it is. And there are some myths around that you have to be really brilliant at maths. Obviously, you’d have to be numerate, but you don’t have to be a degree-level mathematician.” She explains that knowledge of digital and social marketing “is growing and appealing for students” who “just want to be in the industry”. “A fashion education comes with the expectation that industry doors will at least be ajar for that first job in an increasingly competitive market,” says Liz Gee, dean of the Fashion Business School at London College of Fashion, part of University of the Arts London. She explains that “immersion in the specialist creative environment” will help students “stand out in a sea of generalists”. University of Edinburgh’s James works with students from a variety of financial backgrounds and tries to “level everybody out”: “Having a huge amount of money to buy the most expensive fabric doesn’t mean that you’re going to have the highest mark or strongest collection.” Enter Drapers 30 Under 30 2027 now Drapers has launched its annual search for the strongest talent of 2027. We want to shine a light on the emerging names that brings fresh thinking, disruption and creativity to fashion retail. See the class of 2026 here, Please fill in the form below to send your entries and nominations before midnight on 21 September. Entrants need to be aged 30 or under on 31 January 2027. The new cohort will be profiled in the January 2027 issue of Drapers. Work experience pressures A common thread through the various fashion disciplines available for students is the importance of work experience and internships – and the question of how to pay for them. Students who do an internship as part of a UK-based further or higher education course are not legally entitled to the National Minimum Wage. Yazmin Parkin, 20, and Hannah Moore, 22, graduated from the two-year BA Buying and Merchandising course at Fashion Retail Academy this summer. Parkin enjoys “the creative side and the decision-making side, when it’s fun having your input but also backing it up with customer data and market analysis”. Moore is attracted to the buying side of the industry and seeing a project through from fruition “to when it becomes a real product on the shop floor that people are buying, and keeping up with market trends, cultural change and sustainability changes – and how brands are reflecting that”. Both are keen to take their first steps into employment and were attracted to Fashion Retail Academy’s shorter, two-year programme. “Starting is probably the biggest challenge,” says Moore, “just because it’s so competitive – in the buying side more so than merchandising, I would say. There’s a high demand and lots of experience [needed] for entry-level jobs.” She has interned at various fashion businesses to build up her CV in order to stand out and to demonstrate the experience required, but had to pay large sums in travel fees at one placement: “I found it really valuable, I learned a lot – even what to expect day to day, [cut for mag if needed] and also realised how much my university work is reflected in the job, which is nice to know. [to here] But it does put me off doing any more [work placements] because I know what to expect now. I wouldn’t want to then take time off my job as well as having to pay to do more. I’m very glad I did it, and I learned a lot, but I’m not sure I would do it again.” Parkin meanwhile, says most of her work experience placements paid for travel and have been manageable in length of around three weeks, but longer placements are harder to manage: “It does get tricky, maybe if you don’t have a financial position with your family and left to do it on your own devices, it can become hard for people.” On the design side, The University of Edinburgh’s James flags that fashion businesses request students on a placement year instead of offering those opportunities to graduates: “There’s a lot of demand for placement and internship students, unpaid, and I really think that that’s lessening the demand for graduate level, entry level positions because the industry is still topping itself up with internships.” The university’s policy is not to promote unpaid work for students. “It’s interesting to be in an era where we’re talking more and more about equality of opportunities, and actually, the fashion industry is one of the most limiting,” he continues: “Because it does come down to whether somebody can afford to work for free. It’s been like that from as far as I can remember, and it’s not changed at all.” Another issue he highlights is the treatment of work experience students at some design houses: “I say to students that if you go somewhere and if you’re not treated respectfully, or you’re taken advantage of, you leave. You don’t stay in it.” Mia Allonby, who graduated from the BA Fashion Promotion and Marketing at University of Lancashire this year after completing a placement year at New Balance as a UK marketing intern, and who now has a job as a marketing assistant at interior design company Graham & Brown: “It is a worrying issue that rising costs of education and fewer job opportunities are causing young people to miss out on developing important skills, gaining experience and building confidence making it harder for them to go find stable employment in the future.” Olivia Rixon, who graduated from the University of Edinburgh’s Fashion course in July, is applying for both design assistant roles and work placements and is only able to do the latter as her family home is within commutable distance to London. She will balance any unpaid work with a weekend job in retail. She says that entering the fashion industry right now feels “daunting”: “But I’m also excited to be starting a career in fashion. I think still because it’s early. I’m not as anxious as I would be, and right now it feels like a learning curve.” The impact of AI on fashion roles Students are going back to the drawing board at Loughborough University. Jenny Prendergast, its fashion design and technology programme leader and lecturer, says there is a resurgence of students wanting to “engage with the physical process of garment creation and develop a deeper understanding of the relationship between the garment and the body.” She says that popular career choices with students are “technical roles such as technical design, product development and garment technology,” many of which incorporate the use of 3D digital technologies. Prendergast explains that businesses are already using AI to support trend forecasting, buying and merchandising activities but that students still need a “strong grounding in traditional design processes, garment development and materials knowledge … without this tacit knowledge, AI cannot lead the process.” London College of Fashion’s Gee adds “it’s no secret” that AI is having an impact on the traditional fashion retail career ladder, “with many entry level data and administration now automated.” She says she is not seeing fewer jobs “per se”, “just different jobs” to which graduates must be adaptable. They should be able to “critically evaluate” the output of generative AI, and this in turn should accelerate progression, she explains: “Buyers’ admin assistants will be responsible for a bigger portfolio, marketing assistants will be responsible for a wider range of activities.” And adds that the increase in automation will lead to more of a focus on human skills: “Graduates’ ability to communicate face to face, being able to sell in ideas that are commercial and evidence-based will serve them well.” How to tackle the NEET crisis In July, prime minister Andy Burnham introduced a policy to tackle the 1million young people not in education, employment or training. From 2028, school-age children from the age of 14 will be able to combine core subjects such as English, maths and science with “technical” subjects that are useful for their local areas, which will include the likes of AI, technology and the creative industries. The educators that Drapers spoke with agree that work experience placements are key in making fashion career pathways visible and accessible. The University of Manchester’s Parker-Strak says: “Many students are unaware of the breadth of careers available beyond design, including buying, merchandising, sourcing, product development, sustainability, digital marketing, data analytics and supply chain management.” Jenny Prendergast, Loughborough University’s fashion design and technology programme leader and lecturer, adds that while “progress is being made” in offering work experience, “employers need greater support from government, alongside collaboration with higher education institutions, to increase the availability and accessibility of these pathways”. Fashion Retail Academy’s Hansford believes there may be a wider problem: “Our courses say on the tin what job you’re going to get at the end, so I wonder if the NEET issue is more around, well, ‘I don’t know what I want to do, so how can I possibly train for it?’” She also points to young people thinking jobs within fashion are unattainable Feedback and support The students that Drapers speaks to overwhelmingly ask for one thing: feedback. They want to know how to improve their applications but are either faced by silence or automated rejection emails. When they do get to interview stage, some are being screened out by artificial intelligence questionnaires in place of a human conversation. “Although this may seem efficient, there will be a lot of incredible applicants missing out if they don’t hit a key word AI is looking out for,” says recent University of Lancashire graduate Allonby who has secured a role as marketing assistant at interior design company Graham & Brown. In terms of what the fashion retail industry can do to support these passionate and eager students, feedback is important. “It’s acknowledging people because if you don’t feel seen, you can easily quit on yourself,” says Eve Astle, course leader of the BA Fashion Promotion and Marketing at University of Lancashire, she advises that entry-level job adverts should say that there will be a supportive start: “I think [employers] are so busy creating these amazing-sounding jobs [that] sometimes that you wouldn’t necessarily do all of that. It’s almost in a bid to make it sound sexier than it needs to be.” Hansford appeals to retailers to be more transparent during the interview process and to engage with students while they are learning: “The more brands can do to engage before they start employment [the better]. I think that’s a win-win. Everybody knows each other better and there is an understanding of who’s a good fit for what role and what brand. Without starting cold, it’s mutually beneficial and saves retailers a lot of time.” Recent Fashion Retail Academy graduate Moore notes that students might not have actual career experience, “but we’ve done a whole degree. We know what’s what. We know what to expect.” Today’s students are tenacious and eager to get their foot on the career ladder. Fashion retailers should continue to engage as guest speakers at places of education, mentors and by offering paid work experience opportunities, to protect the all-important talent pipeline that they themselves will benefit from. 2026-09-08