Does the devil wear Prada? Counselling aspiring fashion students

“I have a passion for fashion.”

For many counsellors, this familiar opening line can trigger mixed reactions. Some might instinctively want to steer students away from the cliché. Others might appreciate the wordplay. 

But the real task for counsellors is neither to dismiss nor to praise the phrase. It is to help students articulate what that passion actually means.

Fashion is an exceptionally broad discipline yet it is often spoken about in very narrow terms. A student interested in fashion might aspire to become a designer, stylist, buyer, visual merchandiser, marketer, writer, brand manager or entrepreneur. 

That list is far from exhaustive. Too often, perceptions of the fashion industry are shaped by media portrayals rather than by an understanding of how the sector actually operates.

Why the devil might not wear Prada

It is important to challenge the idea, still common among parents and even some educators, that fashion is somehow less serious or less viable than other industries. According to a report by McKinsey & Company, the global fashion industry was valued at approximately $1.7 trillion (£1.3 trillion) in 2023. It employs hundreds of millions of people. Fashion is not niche – it is a global economic powerhouse.

From The Devil Wears Prada to Project Runway and America’s Next Top Model, pop culture has glamorised fashion. Counsellors should counter this by steering students towards work experience that reveals how the industry actually functions.

At its core, fashion operates like any other product-based industry. Clothes need to be designed, manufactured, priced, marketed, distributed and sold. Careers in finance, data analysis, logistics, psychology or marketing can all exist in the fashion industry. They are no less rigorous for doing so. Helping families understand this can be a critical turning point in conversations where fashion is dismissed as impractical.

Living the sartorial dream

When advising students, one of the most useful interventions a counsellor can make is to help clarify which part of fashion actually motivates them. Broadly speaking, fashion degrees tend to fall into four overlapping areas:

Making the product: design, construction, pattern cutting and craftsmanship

Creative interaction: styling, image-making, photography, journalism and visual storytelling

Business and management: buying, merchandising, branding, marketing and strategy

Societal and academic perspectives: history, sustainability, ethics, psychology and research.

Once this is established, the counselling conversation becomes far more focused. A student who dreams of becoming a designer, for example, needs to honestly assess their technical ability. Do they require a course that builds sewing and pattern-making skills from the ground up? Or are they already producing garments to a high standard and seeking a more specialised pathway, such as bridal fashion or couture?

Students interested in creative interaction might need help narrowing their focus. Are they drawn to storytelling through styling? Capturing fashion through photography? Writing and critique? Or developing campaign concepts for digital and physical platforms?

Those leaning towards buying, merchandising or management often thrive on analysis, numbers and strategy. Students drawn to the social side of fashion might be better suited to academically rigorous programmes that explore sustainability, history or consumer behaviour. Some institutions even offer interdisciplinary options, such as the psychology of fashion degree at University of the Arts London, which combines creative work with a professionally accredited psychology qualification.

Fashion or business...or both?

Counsellors are frequently presented with a familiar scenario. A student wants to work in fashion, while their parents insist on a business degree. This does not need to be framed as an either-or decision.

There are several constructive compromises. A student might pursue a general business degree at a creative university, gaining commercial skills while being immersed in a fashion-focused environment. Coursework, internships and projects can often be tailored towards fashion-related case studies. Alternatively, specialised programmes such as fashion management or luxury brand management can offer the reassurance parents seek while remaining aligned with the student’s interests.

Tackling the portfolio

Portfolios can be intimidating for counsellors, leading many to defer to art or design teachers. While such expertise is valuable, counsellors can still play a meaningful role by asking reflective, open-ended questions:

• What message are you trying to convey here?
• Why did you choose this colour, fabric or silhouette?
• How did this idea develop?
• What are you most proud of in this piece?

These questions encourage students to articulate their thinking, which is an essential skill for interviews, personal statements and future professional practice. They also give counsellors deeper insight into the student’s creative world, strengthening guidance and trust.

Moving beyond the cliché

“I have a passion for fashion” is not the problem. The problem arises when that passion is left unexplored. With informed questioning and a clearer understanding of the industry, counsellors can help students transform a vague statement into a focused academic and career narrative – one that reflects both the creative richness and the commercial reality of fashion.