ACS: Let’s hear from the teachers (IV)

Now that the prestigious Parsons School in New York has just opened its doors in Paris, there are more fashion schools than ever in the capital. It’s time to hear from the teachers who are mainly designers and professionals working in the fashion industry.

Here are five original portraits of five establishments.

After Esmod Paris, Mod’Art International and Ecole de la Chambre Syndicale de la Couture Parisienne, this week FashionUnited turns the spotlight on Atelier Chardon Savard. Created in 1988, its teaching method is cross-disciplinary and, in addition to cultivating specific skills in fashion, offers other openings such as footwear or fashion communication. We spoke to Emmanuelle Donnard who, in addition to teaching her courses, works as a freelance and a few months ago launched her own brand of luxury fine leather goods, Odmé.

FashionUnited: How did you become involved in teaching and what is your role at Atelier Chardon Savard?
In fact, I am a former student at Atelier and have stayed close to the management since graduation (Dominique Savard and Cyrille Chardon). I have always been interested in the idea of the transmission of learning, how it goes in both directions, and in addition to wanting to create a link, that is how I became involved. I now teach Style to third year students, which is divided into two classes. I teach 16 hours a week, which gives me time to work on my own projects.

Do you put style above technique in teaching fashion?
By the time they reach the third year, students have already acquired technique. I don’t necessarily think that is the most important aspect. Technique is at the service of creativity; it teaches and learns from itself. Each student must find and develop his or her own potential and put it to use. I am mainly interested in carrying out research with them. This involves Stockman mould casting as well as computer aided design (CAD). I think it is important to make use of all the existing tools in order to help students find their own way. Also, at Atelier Chardon Savard, there is a real teaching ethic aimed at developing the right side of the brain dedicated to observation. Talent on its own is not enough; you also have to be willing to work!

Is it important to have links with the fashion industry when teaching?
It is for me and I like making the connection. But I don’t consider myself a master. I am an experienced professional, who in turn is dealing with professionals who are in training. The idea of an organisation is different. On a daily basis, as a freelance I can keep my hand in creatively as I never deal with the same contract twice. I can make top of the range ready-to-wear lines for a few months and then switch to developing prints for a season and then hook up with the creation of the prototype of a shoe. In relation to my students, this helps me keep in mind the fact that they must not drift away from the real aim, which is to sell a product. Some of them go off on some very interesting research, but then stray too far from the marketing elements that must be considered. You always have to keep your eyes on the target and the end market, in sight.

Do fashion schools always take changes in the fashion industry into account?
At Atelier, in all cases we do everything we can to ensure that the curriculum reflects market changes. Since 2011, we offered creation and developing in the fashion communication sector. The focus was on image, shooting photos, and press and communication skills were taught. Every year, the style, design and modeling courses are revised. We try to keep abreast of current affairs, like competition for example, for which the students worked on an ecological collection. Lastly, we have just come back from Singapore where six young graduate students were invited to show during fashion week. We are also going to team up with partners to conduct short creativity-boosting training courses. The aim of the Singapore trip was to get that under way. In short, we think it very important to have a window on the professional world. We have to place students in “real life” situations.

What are your thoughts on today’s fashion schools?
It is clear that they are not all the same and that sometimes internationally renowned schools are not the same for good reasons. For a future graduate, the image of a school and its commercial and family philosophy must be followed in order to be in tune with its training. For example, contrary to Belgium where the schools sound a common note, in France we have different niches. There is no real Paris fashion movement. However, we do have some big advantages, including a very high level of creation and technique. We just need a little more support from the authorities. We know how to develop talent but promoting it is a different thing…

Céline Vautard

Photos: Portrait of Emmanuelle Donnard
Panorama shot with students on style and design courses ©Hélène Vedrenne
Students around a model ©Jacky Macé