Of course, schools don’t have an easy job here – it’s hard to motivate students to think about the more mundane aspects of professional life when you’re trying to unlock their most creative ideas. But, as a result, the reality of a recent graduate’s life can be wholly disappointing (and an increasing lack of opportunities and unstable income isn’t improving the situation).
Still, no matter how dire the situation might be, ignorance isn’t the solution. Faced with uncertainty, many look to their idols for guidance – the few who have managed to find success without compromising the radical creativity their course encouraged. In reality, many of the millions of jobs that make up the fashion industry are far more corporate, and that’s not a bad thing! Here lies the essence of Baron Osuna’s job, to illuminate young designers to the possibilities of a life post-graduation that doesn’t involve launching their own brand.
In the past two years, Baron has led the Louis Vuitton Accessories Design Graduates Initiative, a program that invites final-year design students from select schools to craft an innovative leather accessory. Participating students submit their designs to be evaluated by a panel of Louis Vuitton experts to win a one-year contract in LV’s Leather Goods and Accessories department.
If that is the project’s most immediate goal, it certainly isn’t its most holistic. According to Baron, the initiative offers students a grounded view of what working in the industry entails “beyond the glamour of the runway.” While the project initially focused on marketing and design schools – like ÉCAL/University of Art and Design Lausanne, home of two of the three winners of the 2023 edition – Baron now emphasises the value of fashion-focused institutions, too. “One reason we always reach out to schools like Central Saint Martins is that we find fashion students have broader creativity associated to product sensibility, which is key for leather goods and accessories design.”
Central Saint Martins is just one stop on a long journey for Baron. After this lecture, he’s bound for the London College of Fashion and then across the pond to speak with students at Parsons and FIT in New York. Addressing a roomful of students in the LVMH auditorium, his message is clear and repeated often: “Louis Vuitton is a company, and its jobs are corporate.” This is presented not as a limitation but as an aspirational fact. “We employ over 30,000 people,” he says. Here is the largest player in the world’s biggest fashion conglomerate. Much of Baron’s presentation is spent showing the immense possibilities within the company: “Just architects alone, we have one hundred in-house”.
Later, after the talk, we discuss the reception he’s received from fashion schools. “The brief for the project is standard for a traditional recruitment process, designed to prepare students for the real world,” he says. He’s a decisive realist about his role in a fashion school, “Maybe the presentation is a bit corporate, but that’s the reality of the job.”
Fabio Piras, head of the MA Fashion Design program at Central Saint Martins, appreciated his assertiveness. “This is an opportunity for graduates to get a foot in the door,” he says. “It was direct, but that’s what we need more of – there’s too much poetry involved.” Baron doesn’t entirely disagree. “There’s space for poetry, but that’s not the day-to-day reality of a designer.” He’s “not here to crush dreams” but acknowledges that while people like “Nicolas Ghesquière and Marc Jacobs will always exist, the number of creative director [roles] is incredibly rare.”
There are two ways to view Baron’s role, one firmly cynical and the other more inspiring. The initiative is, at its core, a recruitment program. He himself doesn’t deny this: “The jury doesn’t differ much from those making decisions in a traditional recruitment process; we aim to preserve our savoir-faire.”
Yet, Baron’s objective is more nuanced, familiarising students with a variety of careers beyond what schools traditionally cover. “There’s an incredible variety of roles that schools don’t expose. Even if they don’t intend to pursue corporate careers, how can they create unique roles if they’re not connected to what’s around them?” Merchandising, product management, operations – fashion design has corporate dimensions that extend far beyond its artistic horizons.
Baron highlights the gap between industry needs and individual aspirations. “For most brands, leather goods and accessories account for over 75% of the business. Ready-to-wear is more of a marketing tool than a commercial opportunity.” His message isn’t merely about drawing students into corporate roles. “Even if you want to start your brand, you’ll need someone capable of creating leather goods and accessories.”
Baron seeks not only to acquaint students with the realities of the industry but also with what it means to be part of a team in a creative yet corporate world. He repeats during his talk, “You cannot have an ego; you’re part of a team.” Louis Vuitton is not a one-man show – it’s a machine run by 60,000 hands.
Baron isn’t oblivious to his role within the brand’s image when stepping into fashion schools. Louis Vuitton is the crown jewel of LVMH, which comes with both benefits and challenges. “There’s an image of arrogance associated with us, but all we’re trying to do is communicate the career opportunities available. How can students make informed decisions if they don’t know about us?”
But, working within such a brand also comes with tremendous creative and financial power. “We’re putting a significant budget into this initiative. It’s larger than what some brands allocate for an entire year.” Baron isn’t bragging; he’s recognising that the initiative is an attempt to use that privilege for good. “I have the luxury of working with such talented people and with a brand that supports innovative ideas. That’s the real luxury.”