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| Year | # of jobs | % of population |
|---|---|---|
| 2021 | 1,494 | 0.00% |
| 2020 | 1,609 | 0.00% |
| 2019 | 1,752 | 0.00% |
| 2018 | 1,775 | 0.00% |
| 2017 | 1,671 | 0.00% |
| Year | Avg. salary | Hourly rate | % Change |
|---|---|---|---|
| 2026 | $55,207 | $26.54 | +4.0% |
| 2025 | $53,088 | $25.52 | +3.5% |
| 2024 | $51,316 | $24.67 | +0.9% |
| 2023 | $50,838 | $24.44 | --2.7% |
| 2022 | $52,240 | $25.12 | +1.0% |
| Rank | State | Population | # of jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | North Dakota | 755,393 | 247 | 33% |
| 2 | Wyoming | 579,315 | 183 | 32% |
| 3 | South Dakota | 869,666 | 252 | 29% |
| 4 | Nebraska | 1,920,076 | 543 | 28% |
| 5 | Alaska | 739,795 | 208 | 28% |
| 6 | District of Columbia | 693,972 | 192 | 28% |
| 7 | Georgia | 10,429,379 | 2,868 | 27% |
| 8 | Wisconsin | 5,795,483 | 1,509 | 26% |
| 9 | New Mexico | 2,088,070 | 538 | 26% |
| 10 | Pennsylvania | 12,805,537 | 3,234 | 25% |
| 11 | Kansas | 2,913,123 | 719 | 25% |
| 12 | Arizona | 7,016,270 | 1,675 | 24% |
| 13 | Minnesota | 5,576,606 | 1,341 | 24% |
| 14 | Iowa | 3,145,711 | 722 | 23% |
| 15 | Texas | 28,304,596 | 6,130 | 22% |
| 16 | Arkansas | 3,004,279 | 659 | 22% |
| 17 | Missouri | 6,113,532 | 1,301 | 21% |
| 18 | Montana | 1,050,493 | 221 | 21% |
| 19 | Michigan | 9,962,311 | 1,998 | 20% |
| 20 | Indiana | 6,666,818 | 1,319 | 20% |
| Rank | City | # of jobs | Employment/ 1000ppl | Avg. salary |
|---|---|---|---|---|
| 1 | Livermore | 1 | 1% | $69,661 |
| 2 | Boston | 1 | 0% | $66,325 |
Santa Monica College
Santa Monica College
Photo, Fashion Department
Lorrie Ivas: Knowledge of the "entire" design process - from hand sketch to drape, draft, construction, digital skills in pattern drafting and design (i.e., Tukatech, Clo or similar), Adobe Creative Suite - Photoshop/Illustrator for presentation (look books, colorways, etc.) - is a standout, even though the actual position applying for may not require seasoned skills in every single step. The employer likes to know that the designer "gets" the process.
Companies like to see versatility... so even if a designer shows amazing swimwear in their portfolio, it is always important to show versatility in other design categories (and obviously whatever category the hiring company sells). Companies like to see what you can do for them and what they didn't realize you can do for them - i.e., new ideas in product collaborations, your genuine sustainability commitment, social media skills, etc.
Lorrie Ivas: The ability to communicate your design concepts to the team (or future boss/interviewer) is vital. Hand and digital fashion sketching and illustration skills are necessary at every step. Scholarships, competitions, or internships often request a sample portfolio, so it doesn't go any further if the illustrations don't "wow" the judging viewer. One can sew/tailor beautifully, but knowing how to "show" that skillset to the judge or employer is vital - i.e., photographing the step-by-step process with close-up details of tailoring skills and presenting it digitally... will win. One may not show actual garments... so knowing how to "sell" your skills is crucial.
Lorrie Ivas: Digital skills are the "unique" differential in being the most valuable to a company today, as international communication resampling and production are all done online. And as mentioned in the above questions, the traditional "hands-on" skills coupled with digital skills are the best mix.
I co-authored a Fairchild/Bloomsbury fashion textbook years ago (2006) entitled "From Pencil to Pen Tool: Understanding and Creating the Digital Fashion Image" since there wasn't a formalized curriculum including Photoshop and Illustrator training for fashion students. All the job opportunities required software skills, but graphic designers were applying because they had those software skills... but didn't have the fashion skills. Now, thankfully, college programs across the country provide appropriate training.