In the world of fashion, where glitz and glam can drown out the idea of true design, it’s easy to forget the original purpose of design — to make people feel something — and clever design communicates who we are, where we’ve come from, what we value and where we are going. Daniel Roseberry, Creative Director of Schiaparelli, reflected on this in a personal letter about one of his shows from SS22. He explained how the pandemic had “redshifted” his thinking, which inspired him to explore the emotional essence of fashion with a different lens, not through extravagance, but through purity, focusing on themes of inner strength and existence: black, white, and signature Schiaparelli gold.
He wrote, “There are designers who design because they love clothes. There are designers who make clothes because they love the craft, because they love people… But I design in order to make people feel something.”
That idea resonates deeply with me as a student and designer. Designing clothes, to me, is not just about garments but instead it’s about storytelling, emotion, and the meaning behind it. Every piece we create says something about identity, culture, and belief. It’s a visual language that allows us to express what words often can’t.
Throughout history, fashion has been a use of liberation and rebellion. Designers like Vivienne Westwood challenged stereotypes and redefined what was considered acceptable, turning clothing into a political and social statements, like her signature Punk movement. From Coco Chanel’s dismissal of restrictive Edwardian dress to Yves Saint Laurent’s redefinition of power dressing, fashion has often reflected broader political and social changes. During the Second World War, Chanel’s use of practical fabrics like jersey and her introduction of relaxed, functional silhouettes aligned with women’s increasing presence in the workforce, offering freedom of movement and a new sense of autonomy. Later, in the 1960s,Saint Laurent’s creation of Le Smoking which was the first tailored tuxedo for women challenged conventional gender norms and reimagined what authority and power could look like in a feminine way as it was usually associated with masculinity. These designers used clothing as a voice for political issues and injustice, responding to changing attitudes about women’s roles in society. Their work remains significant to many of us today, reminding us that fashion is not just about aesthetics, but a historical record of liberation, equality, and identity.
As someone hoping to pursue Fashion Design at university next year, I often notice how people underestimate the subject or deem it as an unrealistic career. In a very academic environment, Fashion and Textiles can be dismissed as “easy” or “just sewing.” But behind every garment is hours of research, experimentation, technical skills, creativity, and conceptual thinking. To design well is to see beyond fabric and form, to consider the ideas, symbolism, and emotion that give fashion its meaning and create with intention. Making it so much more than a superficial career.
For me, designing is about creating something that speaks, something that moves people the way Roseberry describes. It’s about finding a blend between crafting, conceptualising, and being inspired. When fashion is done right, it’s not just seen it’s felt.
