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Effective Guide: Fashion Design Personal Statement Example

Table of Contents

Fashion design is a fascinating and ever-changing field. If you’re interested in pursuing a career in fashion design, it’s essential to create a personal statement that showcases your skills and interests.

In this article, we’ll provide a fashion design personal statement example and share tips on writing your own personal statement. So whether you’re still brainstorming ideas or putting the finishing touches on your personal statement, read on for inspiration!

What Is a Fashion Design Personal Statement?

A fashion design personal statement is a written document that outlines your goals and motivations for pursuing a career in fashion design. It explains why you are the best candidate for a coveted spot in a fashion design program. In addition, it also highlights your experience or qualifications related to the field. A well-written personal statement can be an effective way to demonstrate your passion for fashion.

Why Write a Personal Statement for Fashion Design?

A personal statement for fashion design is a great way to highlight your skills, experiences, and motivations behind pursuing this field . It can be a helpful tool when applying for colleges or scholarships. It allows admissions officers or selection committees to get to know you better as an individual.

When writing your statement, stay focused on what makes you passionate about fashion design. Avoid simply regurgitating information that can easily be found elsewhere in your application package.

Instead, take the time to reflect on what has drawn you toward this creative industry. Share stories of how your interest in fashion has developed over time. Showing off your unique perspective will help differentiate you from other applicants while demonstrating that you’re serious about pursuing a career in fashion.

Tips for Writing a Fashion Design Personal Statement

When it comes to writing a personal statement for a fashion design program, there are certain things you want to keep in mind. Here are five tips that will help your statement stand out:

• Be specific about your design experience and interests. What sparked your interest in fashion? Why do you want to study fashion design specifically? Make sure to highlight any relevant coursework or projects you’ve undertaken.
• Show off your personality! A strong personal statement should give the reader a sense of who you are as an artist. Share some of your creative inspirations and how they inform your work.
• Keep it concise and well-written. Avoid extraneous detail and highlight what makes you unique as a designer. The admission committee is likely going to read dozens (if not more) of statements, so make sure yours is sharp and easy to follow.
• Get feedback from others before submitting the final version. It can be helpful to get feedback from classmates, teachers, or anyone else with editorial expertise. This will help ensure that your statement represents yourself in the best possible light!

What to Avoid Writing in the Personal Statement?

When writing a personal statement, be sure to avoid the following:

• Generic statements about your love of fashion. Be specific about what intrigues you about the field and why you want to study it.
• Discussing other unrelated experiences or interests. Your focus should be on explaining why you want to pursue fashion design specifically.
• Writing anything that could be perceived as negative or self-deprecating. A positive attitude is vital when selling yourself in any application materials.

Fashion Design Personal Statement Example

A personal statement is your chance to share with the admission committee who you are and why you want to attend the program. It is a chance for you to voice your interests and desire to study in the field of fashion design. Below is a fashion design personal statement example to inspire you to craft one for yourself:

Personal Statement Sample

As an artist, I have always been intrigued by how clothes can dramatically change someone’s appearance and express their personality. For me, fashion design is not just about creating beautiful clothing; it is also a form of storytelling and self-expression.

Ever since I was young, I have loved playing with different textures and fabrics, experimenting with color palettes, and putting together unique outfits. When I discovered fashion design as a career option, I knew it was the perfect fit for me. I believe nothing is more satisfying than taking an idea and turning it into something tangible that people can wear or see on TV.

Fashion Design has allowed me to develop my artistic skills while also giving me a practical understanding of how garments are made and marketed. Over the years, I have participated in many fashion shows as a designer and model manager/coordinator. This experience has taught me valuable lessons about working as part of a team, dealing with last-minute changes, and interpreting feedback from others.

I am confident that my passion for artistry combined with my organizational skills would make me an excellent candidate for any Fashion Design program.

When writing a fashion design personal statement, the most important thing is to be yourself. Don’t try to imitate someone else’s style; instead, let your personality shine through.

Be sure to focus on what makes you unique and why you want to pursue a career in fashion design. Above all, make sure your statement is well-written and error-free. Following the tips in this post will help ensure that your personal statement stands out from the rest.

Abir Ghenaiet

Abir is a data analyst and researcher. Among her interests are artificial intelligence, machine learning, and natural language processing. As a humanitarian and educator, she actively supports women in tech and promotes diversity.

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27 June 2024

8 minutes read

Ultimate Guide: 3 Fashion Design Personal Statement Example

Dirghayu Kaushik

Key Takeaways:

• Adapt vulnerability by sharing your doubts, setbacks, and how they shaped you as a designer.
• Show your passion through vivid anecdotes and examples instead of merely stating it.
• Focus on your growth journey, reflecting on how each experience contributed to your evolution as a designer.
• Connect the dots between your past, present, and future, articulating a clear vision for your contribution to the industry.
• Seek constructive feedback to refine your narrative and ensure it resonates with your audience.

Have you ever had fantasies about stealing the show while wearing your own creations, attracting attention, and starting a movement? You are not alone, though. The world of fashion is an exciting labyrinth of creativity and possibility, but breaking through the competition demands more than simply a passion for style. You need to make an impact. Imagine this: You can’t wait to get started in the fashion world, but how can you stand out? The first step is to write a cover letter that really stands out. To be honest, though, it’s easier said than done. How do you convey your enthusiasm without coming across as repetitive? How can you turn your experiences into a CV, or research paper that practically shouts “hire me”? Fear not—we’ve got your back

Get ready to be inspired as we get into the stories of four fashion-forward individuals who dared to dream big. From internships to runway debuts, their statements offer a peek into the heart of the fashion style. So, if you’re ready to kickstart your journey to study fashion, buckle up and let’s dive in together!

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• What is a Fashion Design Personal Statement?

In simple terms, a fashion design statement is your golden ticket to the world of style and creativity. It’s your chance to showcase your passion for fashion, style, and fabric and your eagerness to learn about the fashion industry. Through your statement, you’ll express your unique style, share what you aspire to learn, and highlight your intrigue for the intricate world of garment creation. 

Whether you’re applying for acceptance to a prestigious fashion school or aiming to land your dream job in the industry, your statement is your opportunity to stand out. By weaving in your influence, work experience, and desire to pursue a career in fashion, you’ll paint a compelling picture for enrolment committees or potential employers. 

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• Why Write a Personal Statement for Fashion Design?

So, you’ve got your sights set on an interest in fashion —congratulations! But before you jump headfirst into the world of sketches and sewing machines, there’s one essential step you can’t afford to overlook: writing a statement. If you want to study fashion and become an apparel designer, then writing a statement is a must.

Here are five compelling reasons why crafting a statement for fashion design is an absolute must:

Showcasing Your Passion

Your fashion personal statement is your chance to shine, expressing your deep love for fashion as a form of art. From sketching in junior high to researching the latest trends, it’s where you put your heart on paper and make your love of fashion known.

Setting Yourself Apart

In the competitive fashion world, a unique statement is your secret weapon. By sharing your experiences, from internships to coursework, you show that you’re not just passionate but also well-equipped to thrive in the industry.

Demonstrating Your Skills

Your statement isn’t just about your portfolio—it’s about your ability to articulate your passion for fashion. Whether discussing garment construction or haute couture, it’s where you showcase your research, analysis, and writing skills in a compelling manner.

Your personal statement is your chance to forge connections beyond your designs. By explaining why you want to pursue fashion and sharing your dreams of studying at prestigious institutions or working with renowned designers, you demonstrate your commitment and enthusiasm for the industry.

Mapping Out Your Journey

Writing a statement is your roadmap to a career in fashion. It’s where you outline your goals, aspirations, and the steps you plan to take to achieve them, setting yourself up for success in the dynamic world of fashion.

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• Tips for Writing a Fashion Design Personal Statement

Beyond the conventional advice, here are some underrated tips that can enhance your statement from good to exceptional:

Embrace Vulnerability

While it’s tempting to present a polished image of perfection, don’t be afraid to embrace vulnerability in your personal statement. Share moments of doubt, setbacks, or failures, and reflect on how they’ve shaped you as a designer. Admissions committees appreciate authenticity and resilience.

Show, Don’t Just Tell

Instead of simply stating your passion for fashion, show it through vivid anecdotes and examples. Describe the thrill of your first fashion show, the satisfaction of completing a challenging project, or the influence you found in unexpected places. Let your experiences speak for themselves.

Focus on Growth

Your statement isn’t just a snapshot of who you are—it’s a glimpse into who you’re becoming. Fashion has grown – so reflect on your growth as a designer, from your early aspirations to your current goals, and articulate how each experience has contributed to your evolution. Admissions committees are interested in seeing your potential as much as your achievements.

Connect the Dots

As you share your experiences and aspirations, don’t forget to connect the dots between your past, present, and future. Please show how each step in your journey has prepared you for the next, and give a clear vision for how you plan to contribute to the fashion industry. Enrolment committees are looking for candidates with direction and purpose.

Seek Feedback

Before finalising your statement, seek feedback from trusted mentors, peers, or industry professionals. They can offer valuable insights, catch any blind spots, and help ensure that your narrative resonates with your audience. Don’t underestimate the power of constructive criticism in refining your cover letter to perfection.

Important Tip: Make it conversational, infusing your unique voice while maintaining professionalism. Use vivid details and storytelling to engage the reader and showcase your passion.

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• 3 Fashion Design Personal Statement Example

Enough discussion on fashion business and industry – now let’s jump into the 4 result-driven fashion personal statement samples that have been used by many of successful students who are pursuing a degree in fashion.

1. My Passion for Fashion Design

I’ ve always had a love of fashion that evolved from sketching whimsical designs in junior high to pursuing fashion as a form of art and self-expression. From an early age, I could see interior design and clothing as wearable canvases to showcase one’s individual style and artistry. Through coursework in design, and marketing, I’ve honed technical skills while staying focused on merging functionality with an avant-garde aesthetic inspired by different cultures.

The London College of Fashion’s prestigious program would allow me to pursue this beloved career choice under elite guidance. Studying legends like Coco Chanel and dissecting haute couture would refine my draping, patternmaking, and research abilities. Ultimately, fashion design lets me channel creativity into wearable art that makes an impact. This desire to blend beauty and purpose makes me a perfect candidate eager to absorb new techniques in your transformative community.

2. Expressing Myself Through Fashion

Ever since I can remember, fashion has been an intrinsic part of my life – a way to express myself and connect with the world around me. Growing up, I spent countless hours deconstructing cloth from my mother’s closet, studying the artistry behind each silhouette.

This early curiosity blossomed into a deep passion for design that I’ve actively cultivated through fashion-related courses, internships at local boutiques, and developing an eclectic portfolio showcasing my range. My love of fashion transcends aesthetics – it’s a vehicle for storytelling, cultural appreciation, and self-discovery. During a summer abroad in Paris, I became enamoured with the city’s rich fashion legacy, researching bygone eras while examining how contemporary French designers put their own spin on iconic house codes.

This revelatory experience solidified my desire to study apparel design at an esteemed institution like the London College of Fashion. Under your tutelage, I hope to refine my technical skills in patternmaking, draping, and fashion merchandising. Additionally, analyzing the works of vanguards like Christian Dior would provide an invaluable foundation for haute couture’s artistry and business acumen. With my innate creativity, strong work ethic, and ability to think conceptually, I’m confident your program will equip me to pursue my dreams of becoming an innovative designer capable of making a lasting impact.

Expressing Myself Through Fashion

Do you know that kid who was always doodling crazy outfits instead of taking notes in class? That was me! Fashion has been my creative outlet and greatest passion for as long as I can remember. From fashioning “haute couture” for my Barbies out of scraps, to obsessively pouring over issues of Vogue, I was hooked from day one. As I got older, this childhood fancy evolved into something much deeper.

I started really seeing fashion as an art form and way to express cultural identity. A single piece of cloth can tell such a rich story. During a gap year in London, I was incredibly fortunate to attend fashion shows, visit ateliers, and just soak up the city’s iconic stylishness. Those experiences cemented my desire to pursue apparel design as a career. Your program would allow me to build upon the skills I’ve developed through self-study, merchandising internships, and assembling a diverse portfolio.

I’m especially eager to dive deeper into patternmaking, textile design, and the business side of this multifaceted industry. Learning from the masters by analyzing the works of legends like Coco Chanel and Christian Dior would be incredibly invaluable. Most importantly, being immersed in your creative community would push my artistic boundaries and design sensibilities to new heights. I’m bubbling with inspiration and ready to pour my passion into becoming an innovative fashion voice.

• What to Avoid Writing in the Personal Statement?

Your cover letter is a crucial opportunity to showcase your passion, creativity, and fit for a apparel design program. However, there are certain pitfalls to avoid that could undermine your narrative. Here are four things to steer clear of:

Being too vague or generic

Admissions officers read thousands of essays, so bland statements won’t make you memorable. Use vivid storytelling with specific details and anecdotes that reveal your unique voice and journey into fashion. Generic essays fail to stand out.

Exaggerating achievements or skills

While you want to put your best foot forward, outright embellishments or exaggerations come across as disingenuous. It’s better to be honest about your abilities and highlight your artistic progression and growth mindset.

Recycling statements from other applications 

Fashion programs want to see your direct passion for their specific philosophy, facilities, and course offerings. Repurposing statements makes it seem like you didn’t take the time to craft a tailored, thoughtful narrative.

Focusing too much on the past instead of future goals

Background and inspiration are important contexts, but spend more time painting a compelling vision for how you’ll apply learnings to become an innovative, impactful designer. They want to see goal-oriented students.

In essence, crafting a compelling fashion personal statement requires striking a delicate balance between authenticity, storytelling, and a clear vision for your future in the industry. By embracing vulnerability, showcasing your passion through vivid examples, highlighting your growth journey, connecting the dots of your experiences, and seeking constructive feedback, you can create a narrative that truly resonates with admissions committees and sets you apart in the competitive world of fashion.

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What qualifications do I need to become a fashion designer?

The most common path is to pursue a bachelor’s degree in fashion design or a related field like textile design or fashion merchandising. Many apparel designers also have a strong background in art and design. Specific entry requirements vary by institution, but a high school diploma or equivalent is typically needed to enrol in a bachelor’s program.

What skills are important for fashion designers?

Key skills for fashion artistry include creativity, an eye for colour and design, strong drawing abilities, knowledge of fabrics, proficiency in computer-aided design (CAD) software, and attention to detail. Effective communication, teamwork, and business skills are also valuable.

What does a fashion designer’s job entail?

Apparel designers are responsible for creating original clothing, accessories, and footwear designs. Their duties include researching fashion trends, sketching design ideas, selecting fabrics and materials, creating patterns, overseeing cloth production, and presenting collections.

How much do fashion designers typically earn?

Outfit designer salaries can vary widely based on factors like experience, employer, and location. In South Africa, entry-level positions at major retailers can pay between R16,000 to R22,000 per month, while smaller brands may offer R10,000 to R15,000. In India, starting salaries for Attire designers are typically in the range of 15,000 to 25,000 INR per month.

What are some common career paths for fashion designers?

In addition to working as a Apparel designer for a clothing brand or label, other potential career paths include textile designer, fashion stylist, fashion buyer, fashion merchandiser, fashion illustrator, and fashion blogger or journalist. Some Cloth designers also launch their own clothing lines or labels.

How can I stay inspired and keep up with the latest trends as a fashion designer?

To stay inspired and informed about the latest trends in the fashion industry, consider attending fashion shows, following fashion blogs and magazines, visiting museums and art galleries, traveling to different cities for inspiration, networking with other designers, and experimenting with new techniques and materials. Collaborating with other creatives and participating in design competitions can also help spark creativity and keep your work fresh and relevant.

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Table of Contents

• • What is a Fashion Design Personal Statement?
• • Why Write a Personal Statement for Fashion Design?
• • Tips for Writing a Fashion Design Personal Statement
• • 3 Fashion Design Personal Statement Example
• • What to Avoid Writing in the Personal Statement?
• • Conclusion

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Textile Design BA (Hons) Personal Statement Example

• Reading time: 3 minutes
• Price: Free download
• Published: 20th July 2023
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• File format: Text

My leisurely stroll through the lush green fields during an early summer vacation initiated a deep freeze-frame in my mind. I was mesmerized by the variety of colors, textures, and patterns frisking in the winding field of wildflowers, and the rhythmic breezes interwoven with my thoughts sparked an urgent desire in me: to incorporate these elements into something practical and appealing, thus spawning a new passion, Textile Design.

I have always been artistically inclined and sensitive to the world’s splendor. However, that summer day marked my phase transition, propelling me from appreciating art to wanting to create it, satisfying my thirst to immortalize the world’s beauty into fabrics. It pushed me to study Art and Design at A level, where I flourished, deriving new perspectives on design principles and techniques. Simultaneously, gaining practical insights through classroom projects and generating work that was not only visually, but also tactilely engaging.

The practical exposure at school amplified my love for the subject, urging me to volunteer as an assistant to a local textile designer. This experience affirmed my career choice, and I learned the significance of collaboration, the intricacies of thread and fabric selection, the comprehensive thought process underlying a single design, and the exhilaration of witnessing a concept blooming into a physical reality. I am thrilled at the thought of applying this knowledge to my course, fostering practical understanding simultaneously with theoretical learning.

An unexpected stroke of inspiration came from my cricket captaincy of the school team, an achievement I hold at a high pedestal. It reinforced the value of teamwork, attention to detail, strategy planning, and leadership – invaluable assets in a field like Textile design where the outcome is the sum of many meticulous efforts. I envisioned the cricket pitch as a canvas, illustrating strategies in my mind before imprinting them in the field, much like sketching a design before breathing life into it.

The first foray into the professional world that provided me a sense of responsibility and independence was my freelance work with a startup clothing brand ‘Saturn Threads’ that specializes in sustainable fashion. During this project, I meticulously worked on creating unique, eco-friendly designs, adhering to the brand’s ethos. I indulged in extensive research, synthesizing global trends with traditional techniques to create fresh, innovative designs. An invaluable learning opportunity, I gleaned insights on consumer behavior, market trends, eco-friendly practices, and absorbed the subtleties of working in a fast-paced environment.

Furthermore, in 2022, I was thrilled to be contacted by a local music band to design merchandise for their upcoming tour. This task required diving into a different genre of textile design – graphic and illustrative. I meticulously crafted bespoke designs resonating with the band’s music, style, and target audience. The final products were a hit among their fan base, critically acclaimed for their uniqueness and practicality. This work honed my versatility and adaptability, key characteristics in the ever-dynamic world of textiles.

Most recently, I designed a children’s room as a paid commission, making use of interactive textiles that could stimulate their senses and promote learning. Working independently on such diverse projects fuelled my creativity, honed my skills, and offered invaluable on-the-job learnings I look forward to carrying into my undergraduate study.

By fusing these varied experiences with skills inherent to me such as creativity, patience, precision, and an insatiable curiosity, I am confident in my ability to excel as a Textile Design student. I am naturally drawn to patterns, ever curious about their formation. My precision has aided in portraying minute features with accuracy, and patience allows me to pursue a design till it aligns with my initial vision.

Aspiring to be a Textile Designer, I hope to use innovative, sustainable practices to create intricate designs that resonate with the common man. I want to explore how textiles can form an integral part of people’s lives, not merely in a utilitarian way but as a mean of emotional connection too. In a world where digital invasion is palpable, I aim to bring back the human touch and cerebral connection to everyday products, nurturing the much-needed human-centric approach.

My ambitions fuel my desire to study BA (Hons) Textile Design. I am keen on understanding the diverse aspects of textile design, from initial brainstorming to the final product, and with your esteemed university’s program that synergizes the theoretical, practical, and industrial aspects of the course, I am excited about immersing myself into this multidisciplinary journey.

In conclusion, my background has equipped me with relevant experiences and skills, and my passion ensures that I will put in everything to succeed in this pathway. I look forward to contributing to and learning from the university community, ready to shape my future in Textile Design with the knowledge and exposure I garner from this course. Textile Design isn’t just a course for me; it’s a tribute to my passion and a navigation map to my future. I am excited about the prospects and opportunities this journey will bring, hopefully leading to a satisfying career where I could spin every thread into a story.

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Sample Statement of Purpose Fashion Designing

by Talha Omer, M.Eng., Cornell Grad

In statement of purpose.

The following statement of purpose is written by an applicant who got accepted to top graduate programs in fashion designing and textile. Variations of this SOP got accepted at Pratt, Kent State, and New School. Read this essay to get inspiration and understand what a top fashion design school SOP should look like.

You might also be interested in reading this Sample Personal Statement in fashion design that got admitted to Parsons, the London school of fashion, and the Royal college of arts .

Sample Statement of Purpose in Fashion Design

Country XYZ, a hub of color, culture, and diversity, represents a nation with beauty and potential inculcated in its roots. However, these roots need to be nourished and made more potent because mental illness is terrible at eating them away. Almost 20% of the people in XYZ suffer from mental illnesses, with a ratio of only one psychiatrist available to every 400,000 patients. Depression and anxiety, found in different forms and severity, are the most prominent mental health issues.

Unfortunately, women in XYZ fall victim to depression and anxiety the most, owing to societal conditions and influences. Most women in the country have limited access to activities that keep them busy, entertained, and fulfilled. As such, clothing is one of their little joys; it is more of a lifestyle than a basic need.

With my future studies, I plan to empower the women of XYZ by integrating color therapy with fashion. I aspire to help them cope with their depression by fighting it back with art and color. In a society where a significant part of a woman’s life is her attire, I want to create affordable products that not only make her look beautiful but also remove negative emotions and make her feel mentally healthier. I wish to design a complete philosophy; clothing that doesn’t just fill a wardrobe but also strengthens the wearer’s confidence.

Clothing has the potential to influence mood and self-esteem. Dressing up in uplifting and soothing colors is scientifically proven to trick our brains into feeling better and more confident. Color therapy is about understanding a color’s potential to evoke certain emotions. For instance, green is a perfect color to balance emotions and assist the healing process, whereas black and grey signify invisibility, provoking depression.

I also worked on a similar topic for my final undergraduate thesis, “Adaptive Clothing Features for Children Suffering from Cerebral Palsy.” My research incorporated the basic concept of my interest – integrating art and color with clothing to treat illness. Unfortunately, in XYZ, there is a shortage of literature on color therapy and modern design techniques that can be used to treat mental health concerns.

The idea of improving mental health with art and fashion is comparatively new to XYZ. However, that’s precisely why it needs to be addressed. In XYZ, mental health has long been neglected due to the lack of awareness. I have already worked with special children and helped aid their treatment with design, and I’d like to take my work to the next level.

For my future project, I’d like to build a systematic review based on existing literature to dig deeper into the association between color and mental health and the significance of color in fashion clothing. I aim to use my research to design therapeutic clothing that’s affordable and locally accessible to the mainstream public and has a positive impact on their mental health. I’m also working with one of the world’s leading fashion clothing brands, Zara. My work experience has also given me extensive knowledge about the local fashion industry and the immense potential of clothing to impact the lives of women.

Previously, I have studied psychology and how it relates to fashion. Now, it’s time for me to take it further. A specialized degree will equip me with more knowledge, better design techniques, and a global perspective. By studying in a classroom brimming with cultural diversity, I’d be able to polish and broaden my ideas and understand how this works for other cultures. A diverse classroom enables you to get out of your comfort zone and think out of the box, which forms the basics of fashion and design.

Upon graduation, I plan to utilize my global skill set by working as a fashion retailer for popular local brands. Working for Zara has opened many opportunities for me to connect to other brands. I aspire to use my advanced learning to create beautiful, healthier clothing lines for the women of my country and eventually help XYZ grow economically.

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Doctor of philosophy (apparel design, material culture & textile studies, merchandising, textile science), doctor of philosophy (apparel design, material culture & textile studies, merchandising, textile science) doctor of philosophy (ph.d.), accredited by the national association of schools of art and design.

All prospective doctoral students in the department will apply for a PhD in Human Sciences.  Areas of specialization distinguish each student’s academic focus and should be clearly indicated on the application.  A specialization should be selected from the following areas:

• Apparel Design 
• Material Culture and Textile Studies 
• Merchandising
• Textile Science 

Doctor of Philosophy in Human Sciences with a Specialization in Merchandising

The objective of a Doctor of Philosophy of Human Sciences with a specialization in Merchandising is to prepare future practitioners who can critically apply knowledge of merchandising practices to the soft-goods industry.  Learning innovative merchandising techniques, including the extensive use of technology, will provide students with applicable knowledge of the field.  Students will also learn and apply theory and research methods to address industry challenges. In addition, interdisciplinary knowledge, from fields such as marketing and educational psychology, will enhance students’ perspectives toward research.

Doctor of Philosophy in Human Sciences with a Specialization in Apparel Design

The Doctor of Philosophy program in Human Sciences with a specialization in Apparel Design is designed to educate apparel design scholars who can comprehensively apply theory, knowledge and academic research to their specialties. An in-depth look is taken at fundamental apparel design disciplines as well as relevant interdisciplinary knowledge and technologies, in which students should play a leading role in the future. Related fields will vary depending on the specific focus of the student but may include and are not be limited to anthropology, art, business, education, history, psychology, technology, theater, and women and gender studies.

The required number of hours for any TMFD specialization is 90 hours of 800 or 900 level courses, including 20 dissertation hours.  Distribution of courses include:

Doctor of Philosophy in Human Sciences with a Specialization in Material Culture and Textile Studies

The goal of the Ph.D. in Textiles, Merchandising & Fashion Design with a specialization in Material Culture and Textile Studies is to educate professionals and academics who can comprehensively apply theory, research, and knowledge in their respective and chosen career fields. Students will gain an in-depth understanding of the various applications and methodologies that incorporate and/or focus on object based research as a primary means of studying the cultural, social, economic, political, and personal experiences of people, both past and present. Related fields such as (but not limited to) history, art history, anthropology, sociology and women’s and gender studies are included in the specialization to enhance students’ abilities to understand and apply concepts and theories from outside their particular area of expertise and contribute to the development of original research and advancement of knowledge in the interdisciplinary field of material culture.

A basic outline of the degree is provided below, with more details available in the PhD Handbook:                                                                       

  Doctor of Philosophy in Human Sciences with a Specialization in Textile Science

The goal of the Ph.D. in Science of Textiles, Merchandising, and Fashion Design with a specialization in Textile Science is to educate textile scientists who can comprehensively apply theory, academic research and application of knowledge to their specialties.  An in-depth look is taken at fundamental textile material science disciplines, as well as relevant interdisciplinary knowledge and technologies, in which students play a leading role in the future.  Related fields like chemistry and statistics are focused to enhance students’ abilities to solve complex problems within or outside their area of expertise, and contribute to the development of textiles with original research.

Ph.D. Handbook

• Policy development
• Analysis and Outreach

Application to this program

Requirements for Applicants 

• Completion of online application through Admit; Applicants will indicate the intended program (PhD applicants will select Human Sciences, MA & MS applicants will select Textiles, Merchandising & Fashion Design). All applicants will select a specialization 
• Grade point average of 3.0 or higher on a 4.0 scale
• Minimum TOEFL scores (International Students only) 550 on paper test, 213 on computer based test or 79 on the internet based test (Institution code – 6877)
• Digital Portfolio for textile design and apparel design areas of interest
• Personal Statement: Letter of application describing educational and career goals.

Any of the following would be an appropriate writing sample: 

• manuscript or published article resulting from earlier research such as master's thesis
• paper given at a professional meeting
• substantial paper such as a review of literature
• grant proposal
• critique of a research article
• professional materials developed for use in one's workplace
• course paper
• Three Letters of Recommendation
• MA & MS applicants will have successfully completed an undergraduate degree and PhD applicants will have successfully completed an MA or MS degree if approved for a graduate program in Textiles, Merchandising & Fashion Design

Degree Requirements

Ph.D. students will take an individualized program of study focusing on textile and/or apparel fields. A minimum of 90 credit hours is required

Sample Courses

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Textiles, merchandising and fashion design (ma), textiles, merchandising and fashion design , ma.

The master’s degree under Option A requires a thesis. Option A is most appropriate for students who are preparing for careers in research and scholarly work or additional academic pursuits beyond the master’s degree. Under this option, a student must earn a minimum of 30 credit hours, consisting of 20 to 24 credit hours of regular course work, plus a thesis equivalent to 6 to 10 credit hours. At least one-half of the credit hours required for the degree, including thesis, must be in the major (at least 18 credit hours for the Master of Education degree). The remaining work may be in supporting courses and may comprise a minor consisting of at least 9 credit hours selected from and approved by the minor department. At least 8 credit hours, excluding thesis, must be earned in courses open exclusively to graduate students (900 level or 800 level without 400 or lower counterparts).

Option A is not available for the Master of Professional Accountancy degree.

Thesis Requirements . The subject of the thesis shall be chosen from the student’s field of major interest and must be approved by the departmental Graduate Committee. The thesis should reveal a capacity to carry on independent study or research and should demonstrate the student’s ability to use the techniques employed in their field of investigation. Research activities involving human subjects or live vertebrate animals may not be conducted at the University of Nebraska-Lincoln unless the research activities have been reviewed and approved by the appropriate board or committee. The Institutional Review Board (IRB) reviews projects involving human subject research and the Institutional Animal Care and Use Committee (IACUC) reviews the use of animals in research. These reviews are in accordance with Federal regulations, state laws and institutional policies. Submission of protocols to conduct human subject or animal research is coordinated by the  Research Responsibility  offices. Approval must be secured prior to the initiation of the research.

The thesis must conform to the required style and format described in  Steps to Degree Completion . A copy of the thesis and abstract must be approved by the student’s major advisor and submitted for preliminary review to the Master’s Programs Coordinator in the Office of Graduate Studies at least two weeks (one week in the summer sessions) before the date of the candidate’s final oral examination. A candidate is not eligible for the oral examination until the thesis is completed and approved. After passing the final oral examination, the thesis must be electronically submitted to the Master’s Programs Coordinator for a final review prior to being uploaded to Digital Commons.

• More master's information

The master’s degree under Option B does not require a thesis. Option B is most appropriate for students pursuing practice-based or professional careers in which the master’s degree provides suitable training. Under Option B, a student must earn a minimum of 30 credit hours. At least one-half of the credit hours required for the degree must be in the major. The remaining work may be in supporting courses and may comprise a minor consisting of at least 9 credit hours selected from and approved by the minor department. At least 15 credit hours must be earned in courses open exclusively to graduate students (900 level or 800 level without 400 or lower counterparts).

The Master of Professional Accountancy plan of study may not include a minor.

The Master of Education plan of study may not include a minor, but must include at least 6 credit hours of education courses outside the major.

Accelerated Master's Programs allow University of Nebraska–Lincoln undergraduate students to pursue this degree in an abbreviated timeline.

• More Accelerated Master's information

Dual Degree programs allow students to be admitted to two degree programs simultaneously with approval of each Graduate Program Committee and the Dean(s) for Graduate Studies.

• More Dual Degree information

The Department of Textiles, Merchandising and Fashion Design offers opportunities for graduate study, research, and creative work in the areas of apparel and textile design, merchandising, costume and textile history, quilt studies, and textile science.

Description

Department resources include apparel design studios, screen-printing, weaving, and digital textile printing studios, historic textile and costume collections with over 5,000 pieces maintained in a state-of-the-art climate-controlled environment, well-equipped computer-aided design, and textile testing and processing laboratories. Internship opportunities in industry, government, museum and gallery settings, as well as domestic and international study programs,  are available.

The Robert Hillestad Textiles Gallery showcases apparel and textile design work by students, faculty, and invited artists and designers. The International Quilt Study Center and Museum's collections boast over 3,000 antique and contemporary quilts and comprise an unparalleled resource available to students. The collection, which includes objects spanning more than two centuries, forms the research base for graduate degree programs in textile history and quilt studies.

Goals and objectives include:

• Apparel Design specialization:  Conduct independent scholarly work in apparel design including hands-on apparel design practices. Critique and intepret scholarly design work of others and apply to own work. Develop a collection of original apparel designs that will be part of an exhibition, runway show or other form of visual presentation.
• Material Culture and Textile Studies specialization:  Examine various applications and methodologies of object-based research as a primary means of studying the aesthetic, cultural, social, economic, political, and personal experiences of people.

Specializations

• Apparel Design (On-Campus)
• Material Culture and Textile Studies (On-Campus)
• Material Culture and Textile Studies (Online)

Applying for Admission

Standard requirements for all graduate programs.

• Application for Admission with $50 non-refundable application fee .

If International: Uploads must include all college- or university-level transcripts or mark sheets (records of courses and marks earned), with certificates, diplomas, and degrees plus certified English translations.

After admission: Official documents are required from all students who are admitted and enroll. Photocopies of certified records are not acceptable. International students enrolled in other U.S. institutions may have certified copies of all foreign records sent directly to the Office of Graduate Studies by their current school’s registrar office.

When sending TOEFL scores, our institution code is 6877 and a department code is not needed.

• If applicant is not a US citizen and expects an F or J visa: financial information .
• Applicants must also fulfill any additional requirements the department specifies at the time of application.

Program-Specific Admission Requirements

Additional requirements specific to this program.

• GRE (optional)
• Personal Statement: Letter of application describing educational and career goals.
• Portfolio: The portfolio should include evidence of creative and/or scholarly work in the field.
• Writing Sample: Any of the following would be an appropriate writing sample: Manuscript or published article resulting from earlier research, such as master's thesis; Paper given at professional meeting; substantial paper, such as review of literature; Grant proposal; Critique of a research article; Professional materials developed for use in one's workplace; Course paper.
• Three recommendation letters

Admission Application Deadlines

For priority consideration: February 1 for Fall. October 1 for Spring.

Textiles, Merchandising, and Fashion Design

Campus Address

234 Gwendolyn A. Newkirk Human Sciences Building (GNHS) Lincoln NE 68583-0802

Graduate Chair

Sandra Starkey

Support Staff

Melisia Bieber

Related Programs

• Cert Quilt Studies
• MS Textiles, Merchandising and Fashion Design
• PhD Human Sciences

The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment.

UNL Graduate Chairs and staff please complete the program update form to provide edits. Updates to graduate program pages are made on an annual basis in conjunction with the Graduate Application for Admission.

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• Fashion personal statements

Personal Statement - Fashion Design

Personal Statement:Fashion design

Throughout my whole life I had a priceless opportunity to observe the whole process of manufacturing clothes in my father‘s sewing factory. My passion for clothes was sparked when I was exploring the variety and uniqueness of materials and garments for the first time. This was the significant impact to my nowadays desire – study fashion design. I think that my exceptional style represents my creative personality and artistic skills that lead me to believe - fashion industry is the place where I want to be. The perception of my future began when my parents noticed that I was very interested in art. They let me to „ Mstislav Dobuzinskis Culture and Aesthetic Education Center” where I learned drawing/painting basics and developed my patience and sense of duty. But it was not enough for me, so I started taking private drawing lessons at one of the best teachers in Lithuania - Marija Danutė-Bžeskienė who gave me a real inspiration and new ideas for my future plans. Moved by the famous designers, fashion bloggers and magazines I started practicing by working as a freelance photographer, making hand-made accessories and creating clothes on my own and costume’s models for my dancing team. Furthermore, I participated in the competitions, organized by one of the most popular Lithuanian fashion magazine “Llofficiel” where I presented my own style and won the first place twice as well as granted self-confidence while feeling people’s support towards my personal style. During all this artistic practice work in my father’s sewing factory UAB “Tebesa” I gained a comprehension of clothes. I was working as a sales manager’s assistant/ clothes quality inspector for 3 months. It has taught me how to work in an intensive work environment and the quickness of preparing clothes for export. Moreover, I was helping a sale’s manager to create and select suitable garments for the majority so that provided me with an insight to people’s desires and wishes which is very important for working in a fashion world. Besides all my extra-curricular activities I was also active at school. I had an opportunity to participate in the illustration’s projects such as “Tavo žvilgsnis” and international project “P&P photography as a pedagogical tool “where my works were selected as one of the best. I was always the person who helped teachers with various projects, decorations and creating ideas for my school’s events and this gave me a great sense of responsibility while working with other students. However, I have grown up not only with the artistic hobbies. I had been doing gymnastics for 4 years and after finishing it I became more patient and got a pursuit of achieving the best results. After a little break my second passion became hip-hop dances and during this, I have participated in “World’s hip-hop championship” in Bremen where I had a chance to experience a team spirit which is very important while working in a company. My decision to study in the UK is not a coincidence. I think London is a perfect place for fashion design studies not only because it is known as one of the world’s fashion capitals, but also because of its prestigious universities, a wide range of different courses, worldwide events and fashion shows. At last, after all these explorations of myself I finally see my future vision clearly. I see a woman who is absolutely mad about fashion, loving her work in a worldwide company, trying to improve her skills as much as she can and is always seeking for perfection. She is never afraid of working hard and is always ready to put 110% of herself in everything she is working with. And I truly believe that Your University will make my dreams come true and I will be able to extend my abilities and originality to the daylight.

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Thinking through making

Key details.

• 180 credits
• 1 year programme
• Full-time study

School or Centre

• School of Design

Next open event

• Watch Open Day recording

Application deadline

• Applications closed. Please check back soon.

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Working at the creative interface between materials, making and meaning..

Take a closer look at the Textiles MA programme

Join a Master’s programme operating at the intersection of design, craft and fine art.

At the RCA, we actively challenge the role of the modern Textiles practitioner. Practice-led research is fundamental to our approach. We embrace a ‘thinking through making’ approach, exploring materials and processes to uncover new insights in the physical and digital domains.

The programme unites diverse practitioners, from commercial designers and individual craft and gallery-based practitioners to smart textile innovators. Be part of this vibrant community, whose broad membership is fertile ground for critical debates and questioning.

You’ll develop an individual creative identity through personally driven initiatives, collaborative work, and industry-orientated interdisciplinary projects. With a focus on radical experimentation and material exploration, we encourage an exploratory, non-linear approach that embraces the conceptual. You’ll critically engage with all aspects of the discipline to demonstrate your creative capability. We value all approaches and promote responsibility and ethical values.

Applications will open in autumn for September 2025 entry. If you would like to make a late application for 2024/5, some programmes may still have spaces so please contact [email protected] as soon as possible.

Register your interest to be the first to know when applications for 2025 entry open. 

Catch the replays from our latest online Open Day.

Tin Chung Cheung

Being towards death

Shuran Wang.

Tailermade Vases

Marieke van de Ven

My vision of Taiwan

Chia-Hsin (Cindy) Yu

Dr Fiona Curran

Senior Tutor in Mixed Media Textiles

Fiona is a mixed media artist, she works towards exhibition and site-related public commissions as well as writing on art, ecological politics and environmental thought.

Dr Marie O’Mahony

Senior Tutor (Research)

Marie O’Mahony works with smart and advanced textiles, running her own practice, O’Mahony Consultancy, in addition to her role at the Royal College of Art.

Dr Elif Ozden Yenigun

Senior Tutor

Elif is a material scientist interested in novel and innovative design solutions for the next generation of textiles and smart wearables.

Professor Freddie Robins

Freddie is an artist who challenges the common perception of knitting as craft. Internationally renowned, her practice crosses the boundaries of art, design and craft.

Tutor (Research)

Bine Roth is a material specialist and jewellery designer.

Dr Lynn Tandler

Tutor (Research) Yarn & Woven Textiles

Dr Lynn Tandler is a weaver and an academic.

Anne Toomey

Head of Programme

Anne is a textile design, colour and materials specialist with national and international experience in research-based design, product development, manufacture and student-centred education.

The School of Design is based at our historic Kensington site.

Workshops for textiles include a large-scale printmaking workshop, a dedicated dye lab, mixed media and sewing workshop and extensive knit and weave facilities that include computerised handlooms, an industrial jacquard power loom with APSO software and a dobby power loom. High-tech printing and knitting is also accessible with a state-of-the-art Shima digital knit facility

Textiles workshop

Textiles, print

Textiles studio

Our alumni form an international network of creative individuals who have shaped and continue to shape the world. Click on each name to find out more.

• Lauren Bowker
• Althea McNeish
• Margo Selby
• Emma Shipley
• Alice Temperley
• Donna Wilson

Student and alumni stories

Explore our latest students’ work

Amelia Peng's immersive textile installation explores mindfulness and inner peace at Somerset House

Reconnecting the garment with the body through knitwear design

Five RCA projects celebrating neurodivergent minds

Zandra Rhodes

Nazanin Rose Matin

Textiles graduate wins the camden art centre emerging artist prize with frieze.

Nicolas Lissajoux

More details on what you'll study..

Find out what you'll cover in this programme.

What you'll cover

How will i learn.

There will be several opportunities to collaborate with others, but at a minimum, your programme will include 202.5 contact hours and 1,597.5 independent study hours. Contact hours can consist of lectures, seminars, tutorials, critical forums and workshops, among other types of teaching delivery.

Teaching types included in your programme can consist of briefings, projects, tutorials, seminars, lectures, critical forums, technical inductions, technical workshops, offsite visits and blended learning.

Programme structure

In Textiles Alchemy (45 credits), you’ll develop a strong foundation for establishing your practice through research, experimentation and exploration of colour, material and process. You are asked to identify and evaluate the most appropriate skills and techniques for your project and to critically engage with your choice and use of materials and processes. You will be expected to engage with and contribute to the studio culture of the Programme.

Across Terms 1 and 2, you will participate in AcrossRCA, the College-wide unit. See below for more details.

In Textiles Make (15 credits) you develop a deeper understanding and skill capability within your chosen area of practice and is delivered through a series of masterclasses, workshops, technical negotiated learning and independent study. You will concentrate your study in a selection of available areas and develop your making skills alongside your critical development.

All School of Design students will participate in the Grand Challenge (15 credits) , School-wide unit. This unit aims to connect and challenge all students in the School by introducing a ‘wicked’ design problem that requires a cross-disciplinary approach to problem-solving involving an external international scientific or industry partner (or both). This unit and lecture series has successfully connected and disrupted disciplines, people, philosophies and approaches to design thinking whilst providing our student body with unique networking opportunities.

The Independent Research Project (60 credits) asks you to identify, develop and present a cohesive body of work that encapsulates and demonstrates your Master’s level expertise.

You are responsible for setting your own work scope and managing your time and resources effectively. You must demonstrate a sustained trajectory of progression through the unit that encompasses creativity, critical analysis, consolidation and resolution of your ideas. Individual and group tutorials, seminars, workshops and technical negotiated learning will support your development.

All students will participate in a collective Textiles Festival that includes public dissemination and enables them to critique their work in relation to others and the broader discipline of Textiles.

AcrossRCA is a compulsory 30-credit unit which is delivered as part of all MA programmes.

Situated at the core of your RCA experience, this ambitious interdisciplinary College-wide unit supports you in responding to the challenges of complex, uncertain and changing physical and digital worlds. Developed in response to student feedback, AcrossRCA creates an exciting opportunity for you to collaborate meaningfully across programmes.

Challenging you to use your imagination and intellect to respond to urgent contemporary themes, this ambitious unit will provide you with the opportunity to:

• make connections across disciplines
• think critically about your creative practice
• develop creative networks within and beyond the College
• generate innovative responses to complex problems
• reflect on how to propose ideas for positive change in local and/or global contexts

AcrossRCA launches with a series of presentations and panel discussions from acclaimed speakers who will introduce the themes and act as inspirational starting points for your collaborative team response.

Delivered online and in-person across two terms, the unit has been designed to complement your disciplinary studies and to provide you with a platform to thrive beyond graduation.

Requirements

What you need to know before you apply

Candidates are selected entirely on merit and applications are welcomed from all over the world. The selection process considers creativity, imagination and innovation as demonstrated in your portfolio, as well as your potential to benefit from the programme and to achieve high MA standards overall.

You should have either a BA, a BSc or BEng, or equivalent experience, and a personal statement for the intended direction of study. We also want passion, commitment and a strong sense of personal responsibility for your own learning and development.

Watch this video on what we're looking for in a candidate

What's needed from you

Portfolio requirements.

We suggest you use the five slots to show five different aspects of your work and capability, such as showing five different projects.

Please combine multiple files into one PDF document for each of the five project spaces. The PDF file must be viewable within standard computer screen dimensions 1600 x 1200 pixels.

Remember to consider how your uploaded work will appear to the viewer. Please make it clear what we are looking at by labelling the work accurately. We expect to see a range of things from inspiration and your design process to finished work.

Try and demonstrate your approach to textiles in your application by:

• Showing us where your inspiration comes from and how you interpret and develop this into original and creative ideas.
• Your ability and flair to use colour.
• An understanding of materials and how to manipulate and transform them. This might be showing us textile samples or pieces that you have created.
• If you do not have textile samples, show us inventive ways of transforming other materials. Examples of finished work to your best possible standard.

Video requirements

We ask that you upload a two-minute video recorded on your phone or laptop, speaking to us directly. High production qualities are not needed. We will review the work in your portfolio, so keep your video simple.

We’re interested to find out about you, your thinking, background and ambitions. Use this opportunity to demonstrate your knowledge and understanding of the field of textiles, including how and why you would contribute to this through your studies and future career. Use this opportunity to demonstrate some innovative and critical thinking.

The video can be considered as your responses to the types of questions you would be asked in a face-to-face interview, such as a selection from the following:

• Tell us about your choice of one project from your portfolio and why it best represents your future interests.
• Give us an example of an inspirational person, design or innovation within the field of Textiles.
• What are your aspirations for what you hope to do in the future, and how the Textiles programme will influence this?
• Describe your ideal project and how you would go about this, to include a concept and rationale for the approach you suggest and how this project challenges the discipline of Textiles.
• Talk about your analysis and creative thinking about an existing object – for example something you have in front of you.

English-language requirements

If you are not a national of a majority English-speaking country you will need the equivalent of an IELTS Academic or UKVI score of 6.5 with a 6.0 in the Test of Written English (TWE) and at least 5.5 in other skills. Students achieving a grade of at least 6.0, with a grade of 5.5 in the Test of Written English, may be eligible to take the College’s English for Academic Purposes course to enable them to reach the required standard.

You are exempt from this requirement if you have received a 2.1 degree or above from a university in a majority English-speaking nation within the last two years.

If you need a Student Visa to study at the RCA, you will also need to meet the Home Office’s minimum requirements for entry clearance.

Fees & funding

For this programme, fees for new students.

Fees for September 2024 entry on this programme are outlined below. From 2021 onward, EU students are classified as Overseas for tuition fee purposes.

Overseas and EU

New entrants to the College will be required to pay a non-refundable deposit in order to secure their place. This will be offset against the tuition fees.

Progression discount

For alumni and students who have completed an RCA Graduate Diploma and progress onto an RCA Master's programme – MA, MA/MSc, MFA, MDes, MArch, MEd or MRes – within 10 years, a progression discount of £1,000 is available.

* Total cost is based on the assumption that the programme is completed in the timeframe stated in the programme details. Additional study time may incur additional charges.

Scholarships

The RCA scholarship programme is growing, with hundreds of financial awards planned for the 2025/6 academic year.

You must hold an offer to study on an RCA programme in order to make a scholarship application in Spring 2025. A selection of RCA merit scholarships will also be awarded with programme offers. 

We strongly recommend that you apply for your programme as early as possible to stand the best chance of receiving a scholarship. You do not apply directly for individual awards; instead, you will be invited to apply once you have received an offer.

More information

Additional fees.

In addition to your programme fees, please be aware that you may incur other additional costs associated with your study during your time at RCA. Additional costs can include purchases and services (without limitation): costs related to the purchase of books, paints, textiles, wood, metal, plastics and/or other materials in connection with your programme, services related to the use of printing and photocopying, lasercutting, 3D printing and CNC. Costs related to attending compulsory field trips, joining student and sport societies, and your Convocation (graduation) ceremony. 

If you wish to find out more about what type of additional costs you may incur while studying on your programme, please contact the Head of your Programme to discuss or ask at an online or in person  Open Day .   

We provide the RCASHOP online, and at our Kensington and Battersea Campuses – this is open to students and staff of the Royal College of Art only to provide paid for materials to support your studies. 

We also provide support to our students who require financial assistance whilst studying, including a dedicated Materials Fund.

External funding

There are many funding sources, with some students securing scholarships and others saving money from working. It is impossible to list all the potential funding sources; however, the following information could be useful.

Tuition fees are due on the first day of the academic year and students are sent an invoice prior to beginning their studies. Payments can be made in advance, on registration or in two instalments.

Ask a question

Get in touch if you’d like to find out more or have any questions.

More opportunities to study at the RCA

Related programmes.

The Fashion MA programme asks for a disruptive critical approach, leading to new aesthetics and responses about the practice and industry of fashion.

Understand the field of print through making, exhibiting, publishing, discussion and writing.

Innovation Design Engineering

Innovation through synergy between creativity, science and technology to create value for society.

Art & Design Portfolio Development

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Develop a distinctive progression portfolio tailored to your continuing educational and professional journey in art and design.

Fashion Personal Statement example

I have always been fascinated by the ability of certain colours and items of clothing to change moods or express emotions. Growing up, I enjoyed experimenting with styles to create my own unique look, but during my study of Textiles with Art at GCSE and A-Level I developed a real passion for working with different textures and materials and creating new designs and considered making a career out of my creative skills. I recently visited the New Designers Exhibition to explore the possibilities of a practical fashion design course and was excited to learn of initiatives such as Fashion East, which gives students the chance to launch their careers at London Fashion Week; I would be very excited to have the chance to benefit from these in future. Studying fashion and design skills in practice followed by gaining experience working for an established company would give me the tools to start my own business as a fashion designer in future.

I am an avid observer of trends and their interpretations in different countries. The 2011 spring catwalk shows were full of bold neon colours such as amber and tangerine, and I loved the contrasts presented at the Gucci and Prada shows making use of bright colours in contrasting styles and fabrics to create explosive looks. I believe that clothing and accessories can transform a person into a walking piece of art, and catwalk shows and models are becoming more abstract and artistic to reflect the boldness of high fashion. I recently looked at both Parisian Vogue and British Vogue to investigate their similarities and differences: the quirkiness of designers such as Burberry and Vivienne Westwood contrasts with the understated elegance of Lanvin and Chanel, but both represent ideals of beauty and glamour. In the course of my research, I have also noticed the lack of beautiful yet supportive footwear available. I would like to try and create a range of footwear that offers similar support to a running shoe, yet in a design that is more fashionable and wearable; this would be a project I could pursue with the skills gained from my course, and would be a great outlet for my ideas.

I have found working backstage on several school productions has helped develop my artistic side, as I have assisted with costumes, set and hair & make up. Theatrical makeup and hair is dramatic and bold, and appeals to my love of fashion as art: I would be very interested in gaining further work experience in the costume department of a theatre. I also feel this has made me a more effective team player, as I worked closely with both the backstage crew and performers; a successful project completed as part of a team always feels more rewarding than one completed on your own. This has been apparent in the course of my four years on the school Athletics team, during which I achieved Commitment, Half-colour, and Outstanding awards, as well as team accolades. I also learned the importance of commitment and pushing myself to succeed; I was scouted for Harrow Athletics Club for shot-putt and discus, and participated in the team for several events prior to an unfortunate knee injury which caused me to withdraw. I turned this situation into a positive, however, by going on to mentor young athletes during lunch hours and after school – a rewarding role which allowed me to inspire others with my passion. I also really enjoy practising my sewing in my spare time and have studied various fashion and textiles books, ranging from fashion drawing to sewing techniques.

I undertook work experience at a local theatre last year where I gained an understanding of the many roles involved in running a theatre; I really enjoyed learning different new skills, as well as interacting with members of the public and overcoming challenges. Although I am the first person in my family to apply to university, I feel it would be the ideal place for me to grow as a person, while developing the necessary skills to succeed in an industry I am passionate about.

Fashion Personal Statemen

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• Washington State University

MS in Apparel, Merchandising, Design, and Textiles

Our Master of Science (MS) degree in Apparel, Merchandising, Design and Textiles (AMDT) gives graduates a solid understanding of theories in the discipline and knowledge to conduct and interpret related research. The program is specialized to your interests and provides you with opportunities to pursue research through the completion of a thesis or thesis project. Most students complete the program within two years.

What We Offer

• Individualized, in-depth programs of study
• Nationally and internationally recognized faculty
• Faculty research grants to support students
• Publications in refereed research journals
• Designs and creative work in juried exhibits
• Competitive assistantships – Assistantships are available on competitive bases. Please state your interest in a graduate assistantship upon acceptance to WSU.
• Graduate internships

More Information

Application & admission requirements.

• Mission & Outcomes
• Program Requirements

[email protected] 509-335-1233

Research Areas

• Apparel/Textile product development
• Medical textiles
• Smart textiles
• Sustainable material development
• Fit and function
• Consumer behavior
• Creative scholarship and design
• Merchandising
• International trade
• Sustainable supply chain management
• Economic development
• Omni-channel retailing
• Mobile commerce

All applicants are required to have a minimum GPA of 3.0 (on a 4.0 scale). Review additional requirements, including test requirements, on the WSU Graduate School website.

Before you apply

Gather and prepare the following required application materials in preparation for your online application.

• A personal statement addressing your interest in pursuing a master of science, anticipated career path, and specific areas of research interest
• Three letters of recommendation written by college level professors or advisors, or professional or personal references that address your ability for intellectual engagement, creative thinking, attitude, and motivation
• One written essay that demonstrates your writing capabilities and creativity
• Resume/Vita
• Official transcripts
• Portfolio for design emphasis may be required upon request

Apply online

Apply through the  WSU Graduate School online and submit all required application materials.

Priority deadline

Fall – January 10 Spring – July 1

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Anamika Khanna's timeless Kolkata home is an art-filled homage to tropical modernism

A towering Burmese teak double door leads into Anamika Khanna’s dining room, where every object vies for attention. Dark walls lend a moody look, despite daytime and ambient lighting. Candles and tuberoses pack vases, and lotus blooms. A monochromatic Jayasri Burman painting spans across one side of the room. The ceiling stands out without even trying, a hand-painted temple relic that Anamika sourced from an art dealer’s collection.

Sheer chikankari panels greet visitors entering the house.

Burmese teak doors sourced from Chor Bazaar lead into the dining room and define all the entrances of the home.

“Our dining room wasn’t even planned. I’d thought we would fit it in the living room,” says the designer, adding that she often acquires art and artisanal objects she loves without predetermining their place. The Kolkata-based designer is showing off a talent usually reserved for formal dinners: table setting. Her favourite hand-painted crockery, chosen from a shop in Istanbul’s Grand Bazaar, mini silver trays, pebbles and charcoal black bowls as chopstick rests—mismatched elements that are in harmony by the time Anamika is done.

Anamika’s personal style conflates ease and eclecticism, qualities that echo in her home.

Eclecticism has always been Anamika’s forte, widely regarded among the country’s finest couturiers—with a client roster that goes from Sonam Kapoor to Kelly Rowland, from Ranveer Singh to Akash Ambani. The Anamika Khanna label, founded in the 1990s, stands out for its artisanally fuelled contemporary Indian style, conflating traditional embroidery and embellishments with art- and tribal-inspired motifs and graphics, surface engineering, draping techniques, and deconstructed tailoring. A daring vocabulary that echoes in AK-OK, the clothing brand she created in 2020 with her sons Viraj and Vishesh, which was acquired by Reliance Brands a year later.

This sculpture in the living room, composed of brass bells, is by Paresh Maity. Art and artisanal objects occupy every wall and corner of the home.

Signature fashion motifs from Anamika’s label stand out on furnishings.

At Anamika’s home in South Kolkata’s Alipore neighbourhood, her luxe idiosyncrasy and elaborate craftsmanship appear in measured doses. A trio of sheer ivory chikankari partitions greet visitors on entering through the front door; beige couches in the living room draw their shine from a set of cushions embroidered with dull silver. Embroidered panels adorn the walls on staircase landings, leading up to the terrace, each frame depicting part of a towering Tree of Life—symbolic, notes the designer, of the life that thrives all around her.

Embroidered panels, paintings, and carved wooden panels adorn the staircase.

The carved wooden panels on the staircase were sourced from Chennai.

Shuttered windows are leitmotifs in the house, offering glimpses of the garden.

In planning for a home that evoked the Geoffrey Bawa aesthetic, Anamika found her partner in Channa Daswatte—the renowned Sri Lankan architect whom Bawa had mentored. “We related with each other and instantly became friends,” she says. “It was a very collaborative process. If I came up with an idea, he found ways to work it in.” In designing the house, Daswatte has stitched his aesthetic with hers. When Anamika bought dozens of intricately carved wooden panels from Chennai, Daswatte incorporated them along the length of the staircase railings. The tall doors and pivoting shuttered windows, which flood the entire house with sunlight, were designed to complement a set of old Burmese teak doors that she picked up from Kolkata’s Chor Bazaar.

Designed by Channa Daswatte, Anamika Khanna’s home in Kolkata abounds in natural light.

Viraj Khanna’s paintings and sculptures in the living room.

The Khannas are avid art collectors, their picks ranging from Japanese masters to contemporary Indian artists. Seen here are works by Manjot Kaur, Pallavi Sen, Buddhadev Mukherjee, among others.

Art occupies every nook and corner of the house, encompassing different periods and genres. “It’s not just about important artists, but also pieces that we love and feel strongly connected with,” says Anamika. That includes for instance, a stupa carved with 108 Buddhas that she sourced from an antique dealer in Thailand. It stands in the company of a Paresh Maity sculpture composed of brass bells in the living room. Anamika’s son Viraj, an artist, has swelled her collections with more acquisitions. Paintings by the likes of Samir Aich, Dhruvi Acharya, and Siddhartha Kararwal line the walls; anyone taking the stairs finds themselves gazing at dozens of Buddhadev Mukherjee paintings as they ascend. Textile artist Gurjeet Singh’s soft sculptures share space with a smart TV and family photographs. Viraj’s own artworks and fibreglass sculptures are also on display, including the terrace which he has painted.

The brass bed in Anamika’s mother-in-law’s bedroom is a family heirloom.

The abundance of exceptional art and craft objects don’t rob the home of its intimacy. The family has lived here for close to a decade, and the household is attuned to their needs and comforts—offering both privacy and a sense of belonging. “We have our own spaces, but the house is designed in a way that no one is completely cut off,” says Anamika. One of her own treasured personal corners is her walk-in closet, spanning an entire corridor and covered in mirrors. “I wanted my wardrobe to be bigger than my bedroom,” she says laughing, fitting demand from a woman known for her personal style as much as her designs. Yet this is also a quiet place, with a narrow window at one end opening out to the sky and the garden.

The sprawling backyard garden eschews manicuring for a lush, natural look.

Anamika adores her garden, where excessive manicuring is off limits. Ferns and trees grow naturally, champa, and juhi flowers blossom in the monsoons, and an old peepal tree occupies a place of pride. “I consider it a pillar of our home,” she says. In the evenings, the family often spends time here, seated at a table carved from a single block of wood and illuminated by candles.

The way a home is designed makes or breaks a family, Anamika observes. Hers is an assemblage of everything the family loves and cherishes, where everyone feels at ease putting up their feet at the end of a day. “All of us have really hectic lives. When we were looking for a place, it was imperative that we slow down and find peace,” she says. “When we come home, it feels like a sanctuary.”

Also read: Sonam Kapoor's Mumbai home is a maximalist cocoon of Indian craftsmanship and heritage

Also read: Peter and Cecile D’Ascoli's Delhi farmhouse is a kaleidoscopic feast of colour and pattern

Also read: Anupam Poddar and Eeshaan Kashyap’s Delhi home is a pursuit of a layered, tactile beauty

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What is: Textile design?

Textile design is broad subject area that stretches beyond the fashion world. Central Saint Martins Course Leader Anne introduces us to the different paths you can take to explore the potential of materials and make textiles.

Textiles are everywhere: a knitted dress, a printed wallpaper, a woven carpet or a digital pattern projection. As a textile designer it is essential to have a passion for materials and textures, a healthy obsession with patterns and a love for colours!

Studying textile design allows you to explore a wide variety of directions from fashion fabrics to material design as well as interiors applications and colour forecasting. On the degree course I run you can try out Weave, Print and Knit in year 1 and then specialise in one of these pathways in year 2.

Being in a textile workshop making fabrics is still a big part of the course in order to understand how different materials react to different processes.

Here are some of our brilliant graduates and the colourful work they make. Scroll down and see where studying textile design has taken them in life after university:

Salah Ud Din: Weave

Georgia Fleck: Print

Oliver Thomas Lipp: Knit

See more of Olly’s work on Instagram

Kasia Franczak: Knit

Between Two Worlds

Credit: ‘In Search of the Uncanny’, 2015, Kasia Franczak.

Find out more about Kasia’s work on her website

Piero D’Angelo: Print

Piero D’Angelo won the Dorothy Waxman prize for ‘Hybrid’. Explore more on Trend Tablet

Mark Edgington: Weave

Browse Mark Edginton’s collection on Arts Thread

Sally Cheung: Print

Explore more of Sally Cheung’s collection on Artsthread

Marnie Gooch: Knit

Visit Marnie Gooch’s Tumblr

Tasnim Begum: Weave

Take a look at Tasnim Begum’s collection on Artsthread

Looking for more inspiration?

Check out Susannah’s ‘What is: Textile design?’ pinboard

Anne Marr is Course Leader of the textile design course at Central Saint Martins

Find out more about BA (Hons) Textile Design

Interested in textiles and materials?

Browse all UAL undergraduate courses in this subject area

Related content

Graduating with: Joy Nehar

Central Saint Martins textile grad Joy talks about her influences and life as a textile design student.

Themes/Innovation: When craft and technology collaborate

How can designers combine digital and traditional craft techniques for ground-breaking projects? Textiles technician Yosana tells us more.

Project diaries: Jarafin

During the 2nd year of her fashion design and development course at London College of Fashion Rafin had the chance to work on an industry project for design studio Tengri.