As the global fashion industry stands at a crossroads—where creativity, commerce, identity, and sustainability converge—the graduating students from Savannah College of Art and Design (SCAD) are stepping into the field with a striking blend of ambition and pragmatism. Following their final runway presentation in Atlanta, eight emerging designers and marketers share their post-grad dreams, doubts, and determination to reshape an industry in flux.
A runway of realism
On May 16, the energy at SCAD Atlanta was palpable. The school’s annual fashion show featured music by alumni, a vibrant runway adorned with colorful art by Trish Andersen, and a wide range of student collections. From romantic tailoring to utilitarian silhouettes and storytelling-infused resortwear, the runway captured more than just technical skill — it reflected a clear-eyed awareness that fashion must sell, communicate, and endure.
As Vogue Runway’s José Criales-Unzueta noted, the garments on display leaned toward wearable, functional fashion — a marked shift from past years where spectacle often overshadowed sellability. This conscious pivot reflects a shared understanding among the graduates: while creativity is vital, commercial viability is non-negotiable. BFA student Flora Medina summed it up: “Everything is a business.”
Dreams meet discipline
Each of the students interviewed—from fashion designers to marketing strategists and jewellery artisans—spoke of dreams shaped by realism. Many have aspirations to launch their own brands eventually, but most plan to first gain experience within established companies. The value of learning inside the system before trying to change it was a recurring theme.
For example, Cyerra Latham, whose collection was inspired by her parents’ love story, envisions opening her own garment manufacturing facility. But she knows the path there begins with learning from existing brands. “Design is storytelling, but I want to understand how it’s actually made first,” she said. Meanwhile, Oliver Riedinger, who transitioned from marine biology to fashion, plans to join Abercrombie’s menswear team, citing a desire to learn through collaboration before launching a brand of his own.
For others, like Savannah Luke, founder of Swim by Sav in Barbados, the immediate goal is immersion—not independence. “My plan has changed completely,” she admitted. “Now, I want to work within a brand first and understand the mechanisms behind it.”
Identity as a business strategy
While many graduates discussed the business side of fashion, they were equally committed to authenticity and storytelling. For Micaela Kruger, this meant building a brand rooted in her Peruvian heritage. Her capstone project, a resortwear label called Marena, offered a full go-to-market strategy emphasizing cultural storytelling as a differentiator.
Similarly, Lauren Garcia Quintana explored how heritage brands like Reformation could expand into lifestyle products. Her proposal even incorporated AI-generated imagery to visualize concepts—a sign that today’s fashion students are not only fluent in trend analysis, but also emerging tech. “I’m fascinated by how quickly communication is evolving in fashion,” she said. “It’s not just about products anymore. It’s about connection.”
This strategy-driven mindset extends to Flora Medina, who just accepted an editorial role with i-D magazine. With a background in marketing and art direction, she plans to blend editorial storytelling with a grounded understanding of fashion’s business dynamics. “Fashion is how people feel,” she noted. “But someone still has to think about how to make that feeling profitable.”
Craft and context in jewellery
In SCAD’s jewellery program, the emphasis on craftsmanship is complemented by a deep sensitivity to meaning and cultural resonance. Olivia Tanzy, inspired by Sylvia Plath’s fig metaphor in The Bell Jar, created a collection that reflects the paralysis of choice many young creatives feel. “We often think we have to choose one path or risk losing everything else,” she said. “But new figs—new chances—come every season.”
For Sonia (Shuang) Yang, jewellery is a medium of cultural fulfilment. Her final collection, grounded in the Eastern philosophy of five elements, incorporates natural materials like shells and gemstones. Post-graduation, she’s joining the hardware design team at Kate Spade in New York. “It’s hard to start a career as an international student in the U.S.,” she shared. “But I want my pieces to be in places like Tiffany’s one day.”
The industry they’re entering
While excitement was in abundance, students were candid about their apprehensions. Several cited industry volatility, tariff concerns, and the overwhelming speed of the fashion cycle as sources of anxiety. “The risk of burnout is real,” said Lauren Garcia Quintana. “We’re expected to always be visible. It’s hard to maintain authenticity under that pressure.”
Others, like Riedinger, worry about being a “little fish in a big pond,” while some, like Tanzy, are wary of AI’s potential to undercut the emotional labor of handmade craft. Still, most echoed a willingness to adapt. “We can either fear the changes,” said Yang, “or use them to tell better stories.”
The SCAD Class of 2025 doesn’t pretend to have all the answers—but they are asking the right questions. How do we balance creative freedom with commercial realities? How do we stay authentic in a trend-driven culture? And most importantly: what kind of fashion industry do we want to inherit, and how can we change it from the inside out? As they prepare to graduate, they aren’t just dreaming about fashion. They’re preparing to build it—carefully, consciously, and on their own terms. If the runway on May 16 was the beginning of their journey, the next chapters promise to be even more compelling.
