Fashion Marketing Management Hero

Fashion Marketing& Management

I'm all about the business of Fashion.

After the styles have been sketched, developed and created, someone needs to draw consumers into the boutiques and drive them to the fashion websites. If you have the energy, passion, and tenacity to make that your mission, our Fashion Marketing & Management degree program is your starting point. Working with hardware and software used in the business world, you can learn about the business of fashion—from gaining key insights into consumer behavior to managing a retail operation to finding new ways to increase in-store and online traffic. It’s about giving you the skills to compete in a fast-moving industry. You’ll be surrounded and inspired by other talented, creatively driven students. And you’ll be pushed, challenged, and, above all else, supported by experienced faculty* committed to helping put you in the front line of fashion.

*Credentials and experience levels vary by faculty and instructors.

Degrees Offered

Bachelor of Fine Arts in Fashion Marketing

Quarter Credit Hours:
180
Timeframe:
12 Quarters

Gainful Employment

Outcomes

Bachelor of Fine Arts in Fashion Marketing

Outcomes

See ge.artinstitutes.edu/programoffering/1638 for program duration, tuition, fees, and other costs, median debt, salary data, alumni success, and other important info.

View Academic Catalog

Classroom Experience

Don't sell me the program. Just show me the ropes.

It takes more than a love of fashion to carve out a career in such a highly competitive field. It takes confidence, drive, and hard work. And it takes the skills our program can help you build. You’ll start with fundamentals like color theory, fashion drawing, pattern-making, accessory design, and life drawing, then begin to add to your skills in areas including fabric and fiber selection, color trend analysis, and target market research. You’ll explore concept development, technical drawing and design, specialty design markets, and product development. You’ll study current designers, apparel trends & concepts, and managing the apparel product development process. See our gainful employment pages for possible careers that match the program that interests you.


Meet Our Alumni

  • Eric Schwartz

    Digital Filmmaking & Video Production , 2013

    "[My education gave me] the knowledge, skills, and team working abilities that I need and use every day."

    Read More
    Eric Schwartz

    Eric Schwartz is working as a creative services producer at KDRV News Watch 12 in Medford, Oregon. He’s responsible for conceptualizing, producing, and delivering commercials. “What I enjoy most about my career is never knowing what will come next,” he says. Eric adds that his career challenges his creativity and that he learns something new each day.

    He says that reaching people on a personal level is one of the most rewarding parts of his career. “They are projects that aren't out to make a name brand or make a lot of money, but projects that help to spread positive messages that are meant to help out local communities.” These include “You Can Play” video for Portland State University Campus and a “Habitat for Humanity” video. Eric adds that he’s influenced by people who’ve supported him—especially during his time in the military. Eric served in the United States Navy for four years as a hospital corpsman.

    Eric, who in 2013 earned a Bachelor of Fine Arts in Digital Film & Video from The Art Institute of Portland, says that his education helped to prepare him for his creative career. “[It gave me] the knowledge, skills, and team working abilities that I need and use every day.” He recommends that current students take risks and challenges that others won’t. “If things are not how you imagined they would be, find a new way to look at them. Tackle every job with a positive attitude.”

    See ge.artinstitutes.edu/programoffering/64 program duration, tuition, fees, and other costs, median debt, salary data, alumni success, and other important info.

    Read More...
  • Karina Reed

    Fashion Design , 2014

    "The range of experience I gained in school opened my eyes to all the different facets of apparel design and the various careers that were possible with my degree."

    Read More
    Karina Reed

    Karina Reed is working as an assistant product developer and designer for Kroger/Fred Meyer in Portland. She’s responsible for communicating with factories, assisting senior designers with collections, and collaborating with buying team. “Most of my day is spent reviewing artwork, fit, and color submits with senior designers, specialists, and buyers—and communicating approvals or changes to factories,” she says. Karina also researches trends for upcoming seasons and analyzes selling for current and past seasons. She points out the best perk of her job—traveling the world for development trips.

    Karina is a past winner of Sock It To Me’s “Design-A-Sock Competition,” earning the top spot over 5,500 other entries. “It's a surreal experience walking into a store and seeing my design for sale, and knowing that people all over the country have bought them,” she says. Karina also saw her senior collection on the runway at Portland Fashion Week. “Getting to share it with my friends and classmates made it even more special because we had all gone through the same struggles to reach that goal.”

    Karina, who in 2014 earned a Bachelor of Fine Arts in Apparel Design from The Art Institute of Portland, says that her education helped her to choose the right career path for her interests and talents. “I honestly never considered product development as a possible career path until I took Tech Sketching and Digital Surface Design [class] and realized how much I enjoy designing digitally.” She recommends that current students be aware of how they’re presenting themselves during interviews. “From your portfolio to your handshake to your shoes, you are constantly being judged in this field. It would be nice if skill was the only thing that mattered but in reality people often hire the person they most want to work with, or whose aesthetic most closely lines up with theirs. Do your research, know your stuff, and always be prepared to defend your work.”

    See http://ge.artinstitutes.edu/programoffering/60 program duration, tuition, fees, and other costs, median debt, salary data, alumni success, and other important info.

    Read More...
  • Portland Alumni Ty Johnson

    Ty Johnson

    Media Arts & Animation , 2005

    "I like to tell people that I play with dolls for a living. In truth I'm more like a digital sculptor."

    Read More
    Ty Johnson

    Ty Johnson is working as a 3D Modeler for LAIKA, an animation studio in Hillsboro, Oregon. He creates characters based off of drawings and clay maquettes, but has the opportunity to incorporate his own flavor into them. “It is up to me to ensure my creations are aesthetically pleasing and also meet specific technical standards established by riggers, texture artist, animators and everyone else downstream,” he says. He’s especially excited to be part of the team responsible for the Oscar-nominated film, “The Boxtrolls.” “I’d be lying if I said I didn’t love making internationally recognized Oscar-nominated films. Being a part of something as huge as ‘Paranorman,’ ‘The Boxtrolls,’ and ‘Kubo and The Two Strings’ has given me the opportunity to share my passion with literally millions of people.”

    The process that Ty uses to create a character is incredibly intricate. Each puppet he models is further broken into over 72 mechanical parts. “These mechanisms allow for the articulation of eyeballs, glowing ears, and the swapping of magnetic facial expressions.” Each character is unique and requires custom internals, so Ty utilizes 3D printing to get the intricate parts to fit and function properly. “[It] is the hardest yet most rewarding part of my job.” Like many in his industry, he is inspired by the work of Jim Henson. “I can’t help but think of Jim Henson and his amazing puppets when I’m at work. I am a 90s child and Jim’s fingerprints were on everything I grew up with. He’s definitely a hero of mine.”

    Ty, who in 2005 earned a Bachelor of Science in Media Arts & Animation from The Art Institute of Portland, says that his education taught him a valuable lesson in adaptation. As he was working toward his degree, the school updated its software from what it had been using to reflect a new industry standard. “I was distraught and worried that I was starting over. But I couldn’t have been more wrong. The truth is that technology moves fast, standards change, and if you can’t adapt you’ll be left in the dust.” Ty said that the experience he gained in learning the new technology has played out time and time again now that he’s a professional. “Now when I learn about new tools and software I look forward to it like a kid on Christmas Eve.”

    See ge.artinstitutes.edu/programoffering/73 for program duration, tuition, fees, and other costs, median debt, salary data, alumni success, and other important info.

    Read More...

What Will I Study?

Fashion Marketing Management Study Section

I know I have to earn it. I'm ready to start.

The Fashion & Retail Management curriculum will immerse you in the business side of fashion. And from day one, it’ll test your abilities and your commitment. You'll focus in on building the tools to compete in an industry that rewards those with a knack for creative problem solving as you study:

  • Sales and Event Promotion
  • Consumer Behavior
  • Textiles
  • Brand Marketing
  • Visual Merchandising
  • Retail Operations and Technology
  • Apparel Evaluation & Production
  • Business Management
  • Financial Management
  • Merchandise Management
  • Advertising
  • Trends and Concepts in Apparel
  • I'm looking for my proving ground.

I'm looking for my proving ground.

At The Art Institutes system of schools, creativity is our core, our calling, our culture. Our Fashion Marketing & Management degree program is built on that creative foundation. It’s also built on our knowledge that a creative career is not for the faint of heart. Every day is a new challenge, a new test, a new hurdle. And because it’s tough out there, it’s tough in here. But we’ll support you along every step of your journey. That’s why we provide mentoring and real-world experience, with faculty* who’ve worked in the field and internship possibilities at successful businesses. You’ll be encouraged and expected to be bold. To take risks. To push yourself and the people around you. It won’t be easy. In fact, it’ll be the hardest thing you’ll ever love.

*Credentials and experience levels vary by faculty & instructors.

 

Meet Our Faculty

  • Annin Barrett

    Fashion Design

    "Creative energy gets noticed—and attracts opportunities."

    Read More
    Annin Barrett

    Was there a defining moment when you knew you were destined to become a creative professional?

    While I was working toward an art degree, I was awarded a studio space for creating art. I spent most of my time in that studio creating large paintings and drawings for a gallery show. When the show was a success, I wanted to keep pushing forward in the creative art world.

    How do you weave your professional background into the classroom experience?

    I take real-world projects and problems from advertising, interactive design, page layout, and creative typography and bring them into the classroom—along with real clients to critique student work. We also visit local design companies to look at new technologies.

    What class assignment exemplifies your approach to teaching and mentoring?

    I often assign a process work book for students to fill with sketches, ideas and concepts throughout the term. It demonstrates the progress of a project from early stages to completion with full graphic renderings.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    Pulling together students’ strengths and skill sets from across all design disciplines, with each student assigned a certain task, helps flesh out the whole project as a unified whole.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    My goal for all of my students is to gain a better understanding of art and design through the context of thinking and understanding design solutions. I expect them to understand general theoretical concepts, and I encourage them to explore fine art, design history and theory so they can understand current practices in modern and postmodern media.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Curiosity will take you places you never thought you’d go.

    Read More...
  • Casey Martin

    Casey Martin

    Interior Design

    "Go see the world, meet new people, see new things."

    Read More
    Casey Martin
    Was there a defining moment when you knew you were destined to become a creative professional?

    I always migrated to the creative side of things, but a year into an architecture program I realized I was destined to create captivating interiors. Bringing people alive in spaces is something I strive for in every project.

    How do you weave your professional background into the classroom experience?

    I teach based on real-world scenarios and experiences. I want my students to feel as if every project, every class is grounded in reality. I reach out to many industry professionals so students can hear from a range of professionals—and start building relationships in the industry before they graduate.

    What class assignment exemplifies your approach to teaching and mentoring?

    I teach mostly studio classes, so I spend a lot of class time working one-on-one with students. I also think that discussions and examples of real-world projects is a fantastic way to learn. I often bring in examples of projects I’m working on so they can see the work in progress.

    In what way do you inspire students to push themselves beyond their own perceived limits?

    I’m always pushing students to go further, posing questions so they can find the answers themselves. I encourage them to talk to their peers and ask the hard questions—that’s the best way for them to learn.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    Collaboration is a huge part of the design process. We can’t solve problems alone. I teach many group-project classes as well as cross-listed classes with Industrial Design students. It’s all about blending ideas from many different disciplines and working together to create a solution.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    The world is changing, and no one does just one thing anymore. Be flexible in what you can offer, always work hard, and be prepared.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Take every vacation day you have. Go see the world, meet new people, see new things. As creatives, we need to resupply our creative minds. We need that escape and that inspiration—and travel is, in my opinion, the best way to do that.

    Anything else you’d like to share?

    I grew up in the Middle East, and one of the things I love most about teaching here is the diversity.

    Read More...
  • FilmProd

    Blakesley Clapp

    Digital Filmmaking & Video Production

    "Have a good attitude, work hard, and don't be afraid to ask questions."

    Read More
    Blakesley Clapp
    Was there a defining moment when you knew you were destined to become a creative professional?

    I knew it the first time I set foot on a film set.

    How do you weave your professional background into the classroom experience?

    I use my own professional successes—and failures—as teaching opportunities.

    What class assignment exemplifies your approach to teaching and mentoring?

    I use a “choose your own adventure” production problem. I establish a production problem, then depending on their solution, each student progresses towards wrap or goes backwards. It makes dealing with the realities of a shoot a little less intimidating.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    My students will eventually work in a field that’s inherently collaborative. That’s why I believe the more different peers they can bounce their ideas off, the more layered and deep the final result will be.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    Have a good attitude, work hard, and don’t be afraid to ask questions.

    Read More...
  • Deny Ehrlich

    Deny Ehrlich, MS

    Graphic & Web Design

    "It's up to you to make things happen. Don't sit back and wait for someone else to do it."

    Read More
    Deny Ehrlich, MS
    Was there a defining moment when you knew you were destined to become a creative professional?

    After I earned my undergraduate degree, I wasn’t sure which direction I wanted to go. I visited a graphic designer in her “native habitat” (her studio). When I saw her drawing table, I connected immediately to what she was doing—it struck an immediate chord.

    How do you weave your professional background into the classroom experience?

    I’ve worked both as a graphic designer in a studio and as a self-employed freelance designer. I bring the whole of that experience to the classroom. I approach each class as though we’re working in a studio; I treat my students as junior designers. I teach them to approach a project by first knowing what the client wants, and what challenges they face, then coming up with viable creative solutions.

    What class assignment exemplifies your approach to teaching and mentoring?


    I teach a course that incorporates the real-life experience of working for a nonprofit client, coordinated through an actual design studio. Students must work with a professional art director as well as an actual client. They face real-world challenges like time constraints, competing priorities, personality conflicts, design requirements, and client presentations. They find that working together in pairs and groups allows them to help and inspire each other.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    In that class, students from the Graphic & Web Design, Digital Photography, and Advertising program areas come together to create a collateral campaign for the client. While each group is tasked with their own component, they also work together collaboratively. They learn that the solution depends on the sum of the parts—and that sometimes, creative compromises have to be made.

    What’s the most important thing you impart to students to help them succeed in class and the real world?


    You’re in the driver’s seat. It’s up to you to make things happen. Don’t sit back and wait for someone else to do it.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Embarking on a creative career can take time, so take advantage of any opportunity that seems promising. Keep your eye on where you want to go, but be realistic about how and when you can get there. And keep an open mind. Read More...
  • Elizabeth M. Lockwood

    Elizabeth M. Lockwood

    Interior Design

    "Design is messy, challenging, and very rewarding."

    Read More
    Elizabeth M. Lockwood
    Was there a defining moment when you knew you were destined to become a creative professional?

    I was always getting in trouble for challenging the status quo. I realized I had a knack for solving complex design challenges—even after being told “no.”

    How do you weave your professional background into the classroom experience?

    I try to put myself in my students’ place, asking myself what I wish I’d known about my profession before I got into it. What theory could I have used? What resource would’ve been helpful? Then I think about how I can effectively share that knowledge with students.

    What class assignment exemplifies your approach to teaching and mentoring?

    I love sharing my passion for design with others. I love the iterative process and the endless possibilities. I challenge students to research, investigate, collaborate, and explore every facet of a design so they feel confident that what they’re proposing is well thought out. In Hospitality Design Studio, we work on the technical and collaborative skills needed to be an innovative designer. I use metaphor and storytelling to help deepen students’ knowledge—for example, we do an organizational ball toss exercise where students discover how team members perform in a group project. The metaphor of tossing the ball translates to how team members juggle multiple tasks during a project.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    I’m a connector. I love linking people and ideas together. When I introduce collaboration to students I begin with this quote from Keith Sawyer: “When we collaborate, creativity unfolds across people; the sparks fly faster and the whole is greater than the sum of its parts. Collaboration drives creativity because innovation always emerges from a series of sparks—never a single flash of insight.” It’s critical for designers to learn how to work effectively in teams.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    Ask questions. Network with peers, faculty, staff, and guest presenters. You never know where a great job will come from.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Design is messy, challenging, and very rewarding. You have the opportunity to influence others’ lives with your design.

    Anything else you’d like to share?

    I get to know my students and help them design their own story. What story do you want to tell? I’m here to listen.

    Read More...
  • AnimationEffects

    Jordan Lukrich

    Media Arts & Animation

    "If you love what you do, those 12-hour days will be worth it."

    Read More
    Jordan Lukrich
    Was there a defining moment when you knew you were destined to become a creative professional?

    I was bored and not studying when I went to junior college—but still getting A’s. Reading and regurgitating facts wasn’t for me. I always loved drawing and acting, and when I came here I was finally challenged. I love the challenge of creating something from scratch.

    How do you weave your professional background into the classroom experience?

    I share things I’ve learned in the industry—like meeting deadlines and setting up files cleanly and properly. I stress that it’s important to like your work, but it’s really not for you, it’s for the client. I show them how to detach themselves from their work so they can take criticism without being offended. I also tell them that they get out of this what they put in .

    What class assignment exemplifies your approach to teaching and mentoring, and how do you inspire students to push themselves beyond their own perceived limits.

    All my classes are basically structured the same way: I demonstrate something, then we all do it together as I talk through it, then students do it as I go around and work with anyone who doesn’t understand it. I find that students are hesitant to say that they don’t understand, so that one-on-one time is really valuable. I try to push students just outside their comfort level, because that is where they grow. You learn by encountering problems and having to troubleshoot to find the answer.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    Collaboration in this industry is everything, because nobody completes a project by themselves. Our program is broken into job categories so that students have to collaborate with the people behind and ahead of them to keep up. Time is money in this business, so the more time you waste because you didn’t coordinate your efforts with others, the more money you burn.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    Be a good, driven, and nice person. Even if you’re not the most talented person, if you’re easy to work with and people like being around you, you’ll go further than a talented jerk.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Make sure you love what you do. At the end of the day, it’s still a job and you can burn out. But if you love what you do, those 12-hour days will be worth it.

    Anything else you’d like to share?

    I teach because I love it, not because I have to.

    Read More...
  • FilmProd

    Shelly Lipkin

    Digital Filmmaking & Video Production

    "Do the hard work it takes to succeed."

    Read More
    Shelly Lipkin
    Was there a defining moment when you knew you were destined to become a creative professional?

    The moment I got on stage in college in a production of Midsummer Night’s Dream.

    How do you weave your professional background into the classroom experience?

    I share the things I’ve experienced in the film industry over the past 40 years.

    What class assignment exemplifies your approach to teaching and mentoring?

    In my Fundamentals in Screenwriting class, students work up a script idea based on a character we’ve created as a group. This helps them justify that character’s intentions, motivations, and needs. It's a lot of fun and very creative, and we usually come up with fascinating stories.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    Never give up, even in the face of an extremely competitive environment. Be realistic about those obstacles, and do the hard work it takes to succeed.

    Read More...
  • Yer Za Vue

    Yer "Za" Vue

    Media Arts & Animation

    "There are no shortcuts. If you want something to move from point A to point B, it's up to you."

    Read More
    Yer "Za" Vue
    Was there a defining moment when you knew you were destined to become a creative professional?

    It was when my third grade English as a Second Language teacher was drawing ballerinas. I was mesmerized by the beauty and grace behind her work.

    How do you weave your professional background into the classroom experience?

    After interning at Hallmark Cards and Disney Feature Animation, I moved to Orlando to work on traditional animated films and shorts for Disney, including The Little Match Girl, Brother Bear, Lilo & Stitch, John Henry, Tarzan, Mulan, Pocahontas, and Circle of Life. Much of what I teach reflects the training I received—both as an intern and as a professional. A big part of my job at Disney was taking on new trainees and prepping them for production. I'm used to running a crew of twelve or more artists, so teaching comes naturally.

    What class assignment exemplifies your approach to teaching and mentoring?

    I teach traditional animation only. There are no shortcuts. If you want something to move from point A to point B, it's up to you. The quality of the animation depends on your experience and your vision. A good example: the flight-animated test my advanced students perform. Each chooses a type of bird and then redesigns it so that it's easily replicated. This exercise challenges their understanding of wind resistance, how to deal with timing based on the weight of the bird, counter-action, follow-through, and more. In animation, a perfect drawing doesn't necessarily equate to a perfect animation.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    It's very important. In a course like Pre-Production Team, students work together to create an animated short on deadline. Matching the right students from the right programs to meet the demands of the production is crucial to the film’s success.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    I tell them to take themselves seriously. Skills can be learned, but not having the right mindset will hold you back years.

    Anything else you’d like to share?

    I emigrated to the U.S. from Laos when I was very young. I love what I do, and I couldn't imagine doing anything else. The feeling I get from sharing my good fortune every time I step in front of a class is hard to put into words. I hope that, someday, one of my students will pass this knowledge on to the next generation of artists.


    Read More...
  • Salvatore Reda

    Graphic & Web Design

    "Curiosity will take you places you never thought you'd go."

    Read More
    Salvatore Reda

    Was there a defining moment when you knew you were destined to become a creative professional?

    While I was working toward an art degree, I was awarded a studio space for creating art. I spent most of my time in that studio creating large paintings and drawings for a gallery show. When the show was a success, I wanted to keep pushing forward in the creative art world.

    How do you weave your professional background into the classroom experience?

    I take real-world projects and problems from advertising, interactive design, page layout, and creative typography and bring them into the classroom—along with real clients to critique student work. We also visit local design companies to look at new technologies.

    What class assignment exemplifies your approach to teaching and mentoring?

    I often assign a process work book for students to fill with sketches, ideas and concepts throughout the term. It demonstrates the progress of a project from early stages to completion with full graphic renderings.

    How does collaboration contribute to students’ success—particularly when students from various programs work together?

    Pulling together students’ strengths and skill sets from across all design disciplines, with each student assigned a certain task, helps flesh out the whole project as a unified whole.

    What’s the most important thing you impart to students to help them succeed in class and the real world?

    My goal for all of my students is to gain a better understanding of art and design through the context of thinking and understanding design solutions. I expect them to understand general theoretical concepts, and I encourage them to explore fine art, design history and theory so they can understand current practices in modern and postmodern media.

    What’s the most critical advice you would offer any student embarking on a creative career?

    Curiosity will take you places you never thought you’d go.

    Read More...
Miami International University of Art & Design alumni Marlon Munoz I'm challenged by the opportunity to take my ideas and bring them to life. Marlon Munoz
Visual Effects & Motion Graphics, Miami International University of Art & Design, 2008