An illuminating guide to a career as a fashion designer written by the Editor-in-Chief of Teen Vogue Lindsay Peoples Wagner, based on the real-life experiences of three acclaimed designers—required reading for anyone considering this competitive profession. Go behind the scenes and be mentored by the best in the business to find out what it’s really like, and what it really takes, to become a fashion designer. Lindsay Peoples Wagner profiles three influential New York designers—Christopher John Rogers, Becca McCharen-Tran of Chromat, and Rosie Assoulin—to reveal how this dream job becomes reality. Today’s designers must operate as innovative brands and businesses as well as inspired creatives. The designers in this book have built new models of success while addressing issues of identity, race, and inclusivity. Peoples Wagner showcases their paths to prominence, from early days and school to investment rounds and scaling. B ecoming a Fashion Designer shows that this profession is about far more than clothes. Lindsay Peoples Wagner is Editor-in-Chief of Teen Vogue. She was previously fashion editor at New York Magazine and The Cut. Becoming a Fashion Designer INTRODUCTION Say something. I’ve found myself repeating those two words over and over again throughout my life in fashion. I’ve said them while waiting for emerging designers’ first shows to start. I’ve said them clicking through look books that all look like Celine or Gucci knockoffs. I’ve said them watching the most expensive and elaborate shows with the most boring clothes. There is a lot of noise and glamour in the fashion industry. There is also a healthy amount of nepotism, politics, who’s who, and who you know. While those things endure, the one thing that remains is a need for someone to say something. What really matters is for a designer to communicate something so authentic and real that it breaks through in a visceral way. Creating clothing that transcends time or preconceived notions—that’s what being a fashion designer is about. There’s a lot that goes into saying something. It starts with where you come from creatively, how you developed your vision, and what you want people to feel when they see your brand. The designers who break through inject clothing with meaning. They speak even to those who don’t particularly care, all the while reflecting and creating the zeitgeist. If you do a quick Google search or walk into a bookstore, you’ll find very few books on how to be a fashion designer—and for good reason. There’s no universal template. No one can give you the pencil and paper to start, no one can interpret your perspective, and there is no get-rich-quick guide. You can go to Central Saint Martins or Parsons School of Design, train under the right people, know the right editors, have endless funding, make interesting collections, and still falter. Even if you “do everything right,” there is still no guarantee, and what it means to be a fashion designer now is starkly different than what it meant twenty years ago, or even five years go. The groundbreaking designer Virgil Abloh, who founded his own haute streetwear brand Off-White and works as the men’s artistic director of Louis Vuitton, admitted, “I’d sort of agree I’m not a designer; this term seems like it’s for traditionalists,” he says. “TBD the new title.” People think of the fashion industry as this frivolous, carefree environment where everyone is twirling around in sequins, drinking champagne. On the surface sometimes that assumption can be right, but those who have made a real impact on the industry know all too well that it takes an unprecedented level of focus to have longevity and be more than a blip of hype on Instagram. They know the work, have done the work, and continue to do the work. Those who are resilient and have persevered, like Christopher John Rogers of his self-named label, Becca McCharen-Tran of Chromat, and Rosie Assoulin of her eponymous brand, can tell you all that’s left is an innate desire to offer something that’s unfiltered, consuming, and dynamic. I am currently the youngest and only Black editor in chief in the United States at a major publication. My perspective about what it means to be a designer is different from people who have been in the fashion industry for forty years. Though there may never be another Karl Lagerfeld or Ralph Lauren, the industry has opened itself up to so much fresh talent. It is an exciting time to be a designer. New designers constantly bring something fresh to the table that we’ve never seen before. I’ve seen the good and the bad, the original and the unoriginal, and enough to know the difference. Working my way up the ranks, first as fashion market editor at Style.com, then at New York magazine’s fashion blog The Cut, and now as editor in chief of Teen Vogue, has shaped my worldview of what it means to influence the design world no matter what is currently trendy or cool. I talk to a lot of young