Over the past few months, 1 Granary has been publishing a series of regular features aimed at dispelling myths and misconceptions around starting your own brand. Fashion education, we feel, is too full of fantasy. You shouldn’t name your brand after yourself, but you should find a co-founder. You shouldn’t do men’s and women’s from the jump, but you should lean into AI where it counts. You get the gist. The climate for independent designers is currently incredibly tough, and practices that once guaranteed success no longer work. Leaving design school with an uber-creative graduate collection, some Instagram clout, and an i-D feature is of little use if there isn’t good business nous underpinning it.
We need new roadmaps, and it’s critical that we start creating them from the get-go. Searching for minds that believe in the importance of accessibility and the democratisation of education, we’ve partnered with AZ Academy, a Milan-based fashion course born out of the late Alber Elbaz’s AZ Factory – his brand turned fashion incubator – and overseen by Richemont, Creative Academy and Accademia Costume & Moda (ACM).
We understand that for many, this course – which has a selection of jury that includes illustrious names like Richemont CEO Nicolas Bos, Hermès co-artistic director Pascale Mussard, creative director Isabel Marant, FHCM director Serge Carreira, and Fondazione Sozzani creative director Sara Maino – though free, will not be an option for most, particularly for those who live outside of Milan. So, by partnering up with the school, we’re hoping to communicate some of its most important aspects, democratising access and, hopefully, setting more designers up with the tools to build a successful business in fashion.
First, we begin with the course’s most basic tenant, addressing the gap between artistry and industry. Because, more than just a business course, this program provides a rare opportunity for creatives to refine their vision while mastering the strategic and operational aspects of running a fashion brand. With a curriculum spanning finance, supply chain management, branding, and sustainability, it offers designers the practical tools needed to navigate the complexities of the industry.
“Fashion isn’t just about making things – it’s about making things work,” says Lupo Lanzara, President Accademia Costume & Moda. “A designer is more than a creator; they are a storyteller, a cultural interpreter, a strategist. The most impactful creatives are those who protect their artistic freedom while understanding how to navigate the realities of the industry.”
The harsh reality of independent fashion brands
“Fashion feels less ‘fashionable’ than before,” says Barbara Trebitsch, AZ Academy Director. “Consumers are no longer as captivated by brands as they once were. Generational shifts, loss of perceived value, and dwindling emotional connection to brands all play a role.”
However, it’s not just shifting consumer habits that are making it harder for independent designers to succeed. The barriers to entry in today’s fashion landscape are higher than ever, with production costs, supply chain constraints, and fierce competition creating a near-impossible environment for emerging brands.
Take manufacturing, which is one of the biggest hurdles. Many young designers struggle to secure relationships with factories, as manufacturers typically require high minimum order quantities that are often out of reach for small brands. Without the financial resources or industry connections to negotiate better terms, many independent designers find themselves unable to scale beyond small-batch production, limiting their ability to generate profit and reinvest in future collections.
Finding the right showroom or retail partner is also an uphill battle, especially for brands without name recognition. “Without the right channels, a designer’s work may never reach the audience it was intended for,” Trebitsch adds. The shift toward direct-to-consumer (DTC) models has provided new opportunities for independent brands, but success in e-commerce requires substantial investment in marketing, content creation, and customer acquisition – costs that many small brands cannot sustain long-term.
Then there’s the issue of pricing. Striking the right balance between covering costs, generating revenue, and remaining competitive is a delicate act. Trebitsch explains that “brands must also navigate order fulfilment timelines and establish clear benchmarking strategies to develop pricing models that lead to strong sell-through rates.” Many independent designers struggle to find this equilibrium, either setting their prices too high – alienating potential buyers – or too low, which makes it impossible to sustain their business in the long run. The financial instability resulting from these miscalculations can be devastating, often causing brands to fold before they have a real chance to establish themselves.
It doesn’t help that the market itself is tightening. “The market is experiencing a global downsizing related to multiple factors – regional crises, inflation, changing consumer behaviour – consequently, competition becomes heavier,” says Mauro Grimaldi, Strategic Advisor. Standing out in a crowded market requires more than just great design – it demands a relentless push in marketing, branding, and digital presence, all of which require significant investment. It leaves independent designers trapped in a vicious cycle: they need visibility to generate sales, but visibility costs money they don’t have, leaving them stretched thin and struggling to sustain momentum.
“The biggest challenge for independent designers today is the lack of a real support system. While the industry celebrates emerging talent, the reality is that establishing a brand requires navigating a complex landscape with limited resources,” Lanzara says. “Designers are expected to manage everything, from funding and production to visibility and distribution, often without the same infrastructure and access as more established brands.”
The missing piece: business acumen for creatives
It’s why although creativity fuels the fashion world, it is business knowledge that sustains it. Yes, making something beautiful is important; but it’s arguably more important to make something that can be sold, distributed, and scaled in a way that sustains both the designer and the brand – especially when facing the challenges listed above.
“Usually creative minds think that a creative vision is enough to create a collection and the consumer naturally will be seduced by it,” Grimaldi says. However, the reality is far more complex. “Education helps clarify what someone is going to sell, who is the target consumer, at which price (and consequently with which margins) will set the offer, and what communication strategy will support the development.” Without this understanding, many designers launch collections that fail to connect with the right audience, leading to disappointing sales and financial instability, he adds.
“For a designer, the ultimate goal is to see their creations worn by people,” Trebitsch says. This means that integrating creativity within a business framework is not about compromise but about making conscious, strategic choices. “The various aspects involved in building and growing a brand are deeply interconnected. When designing this program, we focused on equipping participants with the skills to communicate in a new language – one that allows them to engage with investors not only from a design perspective but with a broader understanding of brand identity and market positioning.”
Translating the business jargon
A key pillar of the AZ Academy program is communicating business concepts and creating an accessible framework for creatives. Topics such as developing a business plan, managing a collection, or creating an industrial strategy can often seem daunting, filled with financial models and spreadsheets that feel disconnected from the creative process. “These processes are often perceived as intimidating,” Trebitsch acknowledges, “but we present them as part of an overarching strategic vision, ensuring that designers see how these elements work together to support their creative goals.”
The program is structured to provide both foundational knowledge and hands-on experience. It begins with four months of intensive classroom learning, practical exercises, and industry visits to establish a strong knowledge base. Following this, participants receive personalised support through one-on-one mentorships and industry collaborations tailored to their specific market sectors. This dual approach ensures that designers not only learn business theory but also gain practical insights that are directly applicable to their careers.
Beyond finance and strategy, the program also emphasises that sustainability and circularity are no longer optional considerations but fundamental to modern business models. Designers are encouraged to expand their creative thinking beyond aesthetics and into the structure of their businesses. By embracing constraints – whether related to resources, production, or ethical considerations – they are challenged to find innovative solutions that make their brands not only commercially viable but also future-proof.
“Additionally, we have the privilege of collaborating with Creative Academy’s leadership, Grazia Valtorta and Antonio Rinaldi, allowing our participants to benefit from selected lectures and workshops that enrich their learning experience,” says Trebitsch, who adds that they are fortunate to have a strong network of dedicated professionals, “who are passionate about sharing their expertise and contributing to the next generation of creative entrepreneurs.”
Listening to the business gurus and the creatives
This network includes some of the most seasoned experts in the field. Fashion merchandising consultant Manuela Giuffrè, luxury brand sales manager Laura Giulini – whose experience spans industry giants like Armani, Versace, and the OTB Group – and acclaimed art director and photographer Pablo Arroyo all contribute their expertise. By engaging with these professionals, participants are exposed to the strategic, commercial, and creative dimensions of the fashion business, equipping them with a more holistic understanding of industry dynamics.
“Success in fashion isn’t just about design – it’s about clarity, positioning, and the ability to articulate a vision in a way that resonates with investors, buyers, and consumers,” Lanzara says. “The industry values not just creativity but also strategic thinking and business acumen. The most successful designers aren’t only those who create, but those who master timing, decision-making, and the ability to navigate the ever-changing landscape of fashion.”
“Through education, we can dismantle misconceptions about the business side of fashion,” Trebitsch continues. “The more designers understand the mechanics of the industry, the better they can shape their careers on their own terms. It’s not about conforming to rigid business structures but about learning how to use these frameworks strategically to bring their creative ambitions to life.”
Lanzara agrees: “Education should never be about forcing creatives into a business mindset. Rather, it should provide them with the tools to thrive without compromising who they are. When approached in the right way, business knowledge doesn’t limit creativity – it enhances it. It allows designers to take control of their own narrative, rather than letting external forces dictate their trajectory.”
