‘You can have vision, ambition and ideas, but you have to have grit and perseverance too’ Stephen Smith, JCA | London Fashion Academy
Since its inception in September 2021, JCA | London Fashion Academy has positioned itself as more than just a fashion school — rather, it’s a professional incubator for the next generation of designers. Harriet Hirschler speaks to CEO Stephen Smith, who co-founded the groundbreaking institution with Professor Jimmy Choo OBE, about the evolving landscape of fashion education and the vision behind JCA’s pioneering approach.
How has your background in higher education equipped you for your position as CEO of the JCA | London Fashion Academy, and what insights did you gain regarding areas of improvement that you could implement within this institution?
It’s worthwhile going back to the early days to understand how I entered higher education and why I felt the sector needed improvement.
One of the things I’m deeply unhappy about in the UK is the conveyor belt system we have for education. I’m from Liverpool, I grew up on the Wirral Peninsula. My family is proud and working class, and I’m the only one to have gone to university. That wasn’t a simple exercise because my early schooling was fraught with issues. I was on that conveyor belt, and when I got to my A-levels, I ended up doing sciences even though I wanted to be a filmmaker because my school did not offer this as a subject. Earlier in my life, my dad, who also loved film, had given me a camcorder, so I was making movies as a kid, but when I started applying to film schools, they pointed out that I didn’t have a relevant background in film, art, design or journalism — they were only interested in what I had studied at A-level.
I had to be a bit entrepreneurial, so I found a university that I wanted to go to for their film department. They said that if I could prove that I could do the film course in year one, then they would consider transferring me. So I joined the university through a chemistry degree and did the first year of a film course in parallel. At some point, midway through the programme, they agreed I was capable and then switched me fully to film.
When I graduated, I started working in TV. My school and university approached me about participating in some guest sessions, which I really enjoyed. I then did what a lot of creatives do, which is a portfolio job. You’re doing a bit of creative work and some educational work. While I was enjoying my career, I was able to contribute a great deal to education. I then joined higher education, working from the inside, where I could see things weren’t working out so well.
Twenty years ago, my long-time friend Jimmy Choo and I were sitting in one of the institutions where I was Vice Principal. We were thinking, why aren’t universities delivering graduates who can confidently and capably fit into the education sector, without having to retrain them or force them into unpaid internships for nothing because they’re trying to upskill them? With that conversation, we decided that we needed to have an academy of our own.
What inspired the ethos and approach of the JCA | London Fashion Academy you set up with Jimmy Choo?
When we started thinking about the DNA of the academy, one of the things we agreed on was that it needed to be small and specialised around the individual rather than the mass. When you look at some of the best universities in the UK for fashion, learners lose their identity because they’re given the same curriculum and assessment, year after year. It becomes this slick machine and if you helicopter into end-of-year shows, these schools all have a house style. This poses a problem because it implies that if you’re enrolled at a certain institution, you’re going to conform to a known product. However, this approach doesn’t align with aspiring independent brand designers.
To address this, we took a reverse approach, examining the industry and working backwards. If our aim is to nurture authentic, independent brands, how do we guide students toward that goal? It’s not just about education; it’s about fostering an entrepreneurial mindset. That’s why we developed the concept of an incubator where students not only participate in academic programmes but also engage in a range of other activities.
What we do, which can only be done in a small institution, is tailor our assessment strategy. Over their three years with us, learners will use our assessment to develop their clothing or accessories range in tune with the market they wish to enter. Learners are also provided with a range of experiences that expose them to different parts of the industry. Most important is the interplay between design and entrepreneurship. One of the things that Jimmy and I discussed was that in the greatest fashion degrees, there is no moment to talk about the business of fashion, only design. That’s great if you’re going to become an employee for someone else but if you want to be the employer, then you’re going to have to learn how to do it.
After the learners spend three years developing their portfolios, we don’t want to just hand them a certificate, so our learners participate in a professionally curated London Fashion Week show. We have an amazing PR team who support every one of those designers to make sure they get exposure and even after they’ve left us, we support their ongoing journey.
The academy launched at a pivotal point in time, when we had a hugely dissatisfied younger generation wanting to create and drive change, who at the same time was capable of taking and managing risk. These are two amazing entrepreneurial behaviours. What we’re seeing now is a huge number of learners coming to us because they want to take the lead in fashion from an independent brand perspective and make changes that are personal to them. That could be the audience they’re making clothes for; their material choices and sustainability; or creating fashion that is more cultural or Indigenous. For others, the change they want to make might be around the workforce. It’s usually something bigger that is driving those entrepreneurs and that’s what makes it exciting.
Do you still support students who would like to work in the big fashion houses, rather than set up their own label?
Of course. At the end of the day, whether you’re an employer of fashion designers or an employer of Aston Martin engineers, somebody who comes as a complete person with wider key skills becomes hugely employable. We had one learner, for instance, who had a moment of anxiety just before she was leaving. She was on an independent brand-making programme, and we were about to launch her as an independent label but she didn’t know whether she would be good enough and would have to look for a job instead. Next thing she knows, a commission comes in from a famous R&B artist to make trousers for his upcoming show. That reinvigorated her and made her think there might be something here. She has since shown at London Fashion Week five times.
You can have vision, ambition and ideas, but you have to have grit and perseverance too. You have to push yourself. While I’ve mentioned some admirable behaviours of the upcoming generation, there’s another that’s common in higher education — though not unique to this generation — where learners expect to coast and be spoon-fed. They believe that attending a prestigious institution like JCA, with its good reputation and ample resources, will automatically ensure success upon graduation. This mindset can be frustrating because, although we can leverage resources, networks, and opportunities in ways others might not, ultimately, success requires personal effort. It’s up to the individual to put in the hard work.
As an entrepreneur, you need to have knowledge and skills, but the only way you’re able to apply them is with gutsiness. In the age-old debate between street smarts and book smarts, being an entrepreneur, particularly in fashion, demands a bit of both. Relying solely on street smarts leaves a significant gap in expertise, while solely relying on book smarts may hinder your ability to adapt, manoeuvre, and confront challenges with vigour and determination. It’s not a free ride, and there are going to be difficulties that learners will need to navigate, but that’s all part of human development.
You mentioned bonding with Jimmy Choo over shared values. How do your journeys align?
The area where I was born wasn’t affluent, and neither was Jimmy’s. He crafted his first shoes for his mum as a kid, learning the craft from his dad. My passion for film came from my dad. Eventually, Jimmy realised he needed education to further his skills and knowledge, prompting his move to the UK — an entrepreneurial move. Jimmy’s success wasn’t overnight; while many now see Jimmy Choo as part of a multinational, multi-million-dollar industry, they don’t realise he engaged in entrepreneurial activities back then to stay afloat in his field. It was through this mix of being book smart, street smart, and having gutsiness that he was able to take that crucial step forward.
The reason we have been friends for such a long time, and respect each other as much as we do, despite our different personalities, is rooted in our shared humility and lack of arrogance. If you talk to Jimmy, who is, obviously, internationally renowned, you’ll find he’s comfortable talking to anyone — be it kings, queens, politicians, or everyday folks on the street. Maybe his suit might change, but his personality remains unchanged. When you’re authentic, show respect to others, and embody humility and agreeableness, you can achieve anything. It’s not about trying to win people over; it’s about being true to yourself. Isn’t it funny how those who pretend to be something they’re not usually don’t last? It’s unsustainable in the long run.
Was the academy always going to be based in London?
It wasn’t until quite late in my adult life that I came to London, and the city was a place of fear. As a northerner, especially within my family, the mantra was always to save, save, save, ensuring you had enough money in the bank. So, naturally, the idea of going to London seemed daunting due to its reputation for being expensive. However, upon arriving in London, I realised that while housing costs were high, the general cost of living was manageable. There’s an overblown perception of what London is and isn’t, but once you’re here, you take it as it comes.
If we were establishing an academy in another field, perhaps London wouldn’t be the chosen location. However, for a fashion academy, it’s a necessity. The industry is firmly rooted in this city. I often tell our learners that while they may fall in love with London and wish to stay indefinitely, they could also use their time here to develop a network and then return to their home country or city to become influential designers, while staying connected to their contacts in London. Physical presence in London isn’t a lifelong requirement; it’s about building that essential network to take you forward.
Our programme’s learners aren’t biased towards London either; we have a fairly even distribution across the UK, with a small international contingent. There are a couple of myths surrounding our academy. Firstly, people think it’s predominantly international due to presumed expenses, but in reality, only 12 – 15 per cent of our students are international. Secondly, there’s the misconception that it’s filled with affluent Chelsea kids, but our demographic is quite diverse. While we do have some more privileged students, many are working multiple jobs while pursuing their studies. Our selection process isn’t solely based on academic potential; we also assess behavioural traits to gauge entrepreneurial potential. Not everyone has the disposition, and that’s perfectly fine. If we lived in a world solely comprised of entrepreneurs, we wouldn’t progress because nobody would be inclined to work. We recognise this and sometimes admit learners who, like myself with chemistry, lack a background in fashion, arts, or design. Instead, they may hold A-levels or qualifications in fields such as psychology or business. Psychology, for instance, plays a huge role in fashion, while business skills are crucial for entrepreneurship. As a result, some learners may need to accelerate their learning in design, while others may focus more on entrepreneurship. It’s about tailoring the educational experience to suit individual needs, ensuring a balanced approach.
How do your two campuses in Mayfair and Boston Manor differ?
Mayfair runs design, branding, and entrepreneurship, and Boston Manor, which opened in late 2022, is our maker’s space. Although it’s still entrepreneurial, the Boston Manor campus is more driven by craft and can facilitate and support somebody who’s not just designing a dress or trousers or a shirt, but designing everything — from the glasses to the shoes, the hat, or the jewellery, so what you have is a cohesive look. The big luxury houses are doing that but by volume, so for an independent label to do that is quite rare. If an independent label can create a number of looks where all of those pieces can come together, that’s exciting, and there’s a gap in the market for that type of designer. The activity at Mayfair is more akin to incubating entrepreneurial designers, and we have more of a business focus.
Are learners encouraged to go into any level of fashion — from mainstream to couture?
Again, it’s a fallacy that people assume attending JCA, because it’s Jimmy Choo, will lead to pure luxury. While most of our brands maintain a high-end finesse, it’s not necessarily all couture. We have streetwear, bridalwear, and menswear tailoring — our metric of success is the learner’s happiness and their ability to sustain their livelihood by practising their craft. For some, the goal isn’t to become a multinational conglomerate; they seek to establish a small independent label that provides a comfortable living while allowing creative freedom and control. Equity can compromise control, and our learners are aware of that. Each designer in our shows is unique, and whichever niche market they end up catering to will be with high-end products. We vehemently oppose the concept of fast fashion, as it contradicts our ethos.
Do you believe that launching a label or gaining recognition through social media has become easier, or has it led to oversaturation in the industry?
It’s an interesting one because Jimmy was talking about his life story recently, and reminded me that his entry into the market was facilitated by an eight-page spread in Vogue back in the ’80s. There was no Instagram, Facebook, or the internet, so really, the press was the only way of facilitating knowledge of who you are and what you’re about. So, Vogue would have been a very important gatekeeper at that stage. I think, on the whole, the world that we’re living in today is far better for an entrepreneur. As much as Instagram and other social media platforms have a volume of people trying to break in, they crucially allow independent labels to reach out to markets that would have never found them back in the days when we had gatekeepers determining exposure through editorial choices in major magazines. So, I would argue that those with the behavioural traits I mentioned earlier are particularly advantaged in this new world. However, we remind our learners that their pivot points could vary. For some, it’s centred around presenting a show. For others, it’s a collaboration. A specific retail opportunity may be the turning point. And for others still, the focus may be on leveraging social media, celebrities, and influencers, recognising its effectiveness in ongoing marketing and engagement.
What positive discoveries have learners made about the fashion industry, or what myths have they debunked?
We draw many of our values from Jimmy, and as I often mention, Jimmy and I share similar traits. However, from a visibility standpoint, he’s the designer, whereas I am not. The concept of being highly competitive, driven, and ambitious, yet remaining humble, is not always universally embraced in this sector. There are substantial segments within the design and broader industry that still romanticise The Devil Wears Prada lifestyle. However, those days are swiftly becoming outnumbered. Going back to the conversation Jimmy and I had a long time ago, we decided that fostering a community of designers who exhibit fierce ambition and resilience without the need for arrogance would be beneficial. It’s not just us who think this, there’s almost a movement of people in fashion and the wider industry who want to see better behaviours. Being aggressive just doesn’t cut it in the long run. Don’t get me wrong, we have some amazing divas in our industry, but they are lovable rogues.
What significant insights have you and Jimmy gained about your students, the emerging luxury market, and the future of fashion?
What’s really refreshing, going back to that point I made earlier on, is we’ve got a generation who wants to evoke change. They don’t want to be an employee of a company that is furthering the very values and ideas they want to push against. They want to be the employer who can take control of that change itself. Today’s generation doesn’t just moan about what’s wrong with the world, they have a willingness to take the managed risk and push for change. That’s great for society as a whole because it becomes a collective mission, and education is, fundamentally, a catalyst. If we can create more of that, not just in fashion but in other disciplines, then that’s going to be a huge driver for UK business.