3 Questions for Nounja Jamil
Operations Director of the Campus des Métiers et Qualifications (CMQ)

Nounja Jamil is Operations Director of the Campus des Métiers et Qualifications (CMQ) fashion program in the French metropolitan area. She talks about her missions, her projects, and how she sees the future professions.

Tell us about the Campus. 

The Île-de-France Campus des Métiers et Qualifications for the fashion industry is like other CMQs. They’re all consortiums of establishments directed by four ministries: National Education, Higher Education and Research, Labour, and Economy. The CMQs create synergies between the economic, cultural and educational entities within a region. The goal is to provide precise, appropriate, concrete, and quick responses to the changes going on in today’s professional world. There are around a hundred Campus projects in France, dedicated to sectors ranging from seafood to automobiles! The CMQs don’t implement the training; they support it at a regional level by recommending innovative methods for inspiring, coordinating, and even connecting different players in the same industry, in our case fashion. 

One of our Île-de-France CMQ fashion projects is a focus on the communities to the northeast of Paris: Aubervilliers, Pantin, Romainville, and Montreuil. We’re especially interested in promoting professional training programs and encouraging the diversification of professional methods, and we do this by developing projects that put students earning their Certificate d’Aptitude Professionelle (CAP) together with Masters students and even researchers. 

What are your projects and who are your partner schools? 

As an example, we organize events to help publicize different training options for jobs in the fashion sector. Last November we introduced a competition that brought together 13 schools from Paris and Créteil with the Universal Love non-profit association. It was an ethical fashion triathlon linked to the 2024 Olympic Games. Participants had to design an outfit using unsold stock from the sport industry. The project attracted 450 students who came together over two days at the Condorcet Humanities and Social Sciences Campus in Aubervilliers. The event gave students from different levels and different schools a chance to meet and share their knowledge. The competition illustrates the Campus’ mission: to solicit and mobilize a multitude of players in order to break down the barriers between different professions’ skill sets. 

All of this is possible thanks to “twin campus” collaborations. This competition with art and design schools is an example, but it can also involve other partners or Campus-connected institutions, such as vocational schools or public or private higher education establishments. The list of schools includes the Institut Français de la Mode (IFM), the École Duperré of Applied Arts, and the École Nationale Supérieure des Arts Décoratifs (EnsAD), which is the administrative representative of our fashion Campus. There’s also La Fabrique, Casa 93, and the Conservatoire National des Arts et Métiers, our partner for developing new technologies and technical platforms. I also need to mention the École des Chartes, with whom we have a fashion archives program that lets CAP fashion students work with students earning their Masters in Archival Science. It’s essential for technical professions to meet with management teams and creatives and for CAPs to be in touch with researchers. For too long the “savoir” and the “faire” have been separated, with concrete manual skills on one side and abstract thinking on the other. 

Which jobs are the future of the fashion industry? 

Everything concerning sustainable development is at the top of the list. The new Master’s Degree in Fashion and Materials (EnaMoMa), created by EnsAD, the Mines ParisTech school, and Paris Dauphine University, is proof, with a curriculum that brings together fashion, management, and engineering students. Digitalization and how it affects everything from design to sales and even manufacturing, order management, and short distribution channels is also central. We’ve also started thinking about working with video game schools, especially since the metaverse is a prime space for developing other cultures within the fashion world. Putting used clothing professionals together with curators and recyclers also has a great future.