| 8 minute read

HEAD – Genève: More than an art and design school

Jean-Pierre Segers

Established in 2006
with the merger of two schools, the Ecole
supérieure des beaux-arts
and the Haute école d’arts appliqués , both over 200 years old, HEAD – Genève has become one of the
foremost art schools in Europe in the last ten years. Many factors have
contributed to this significant development, including substantial means, a
focus on diversity, and a faculty made up of renowned artists and designers, resulting
in the ability to attract a high number of very motivated students. A school of
this calibre and level of ambition is an undertaking that cannot confine itself
to merely fulfilling traditional teaching and research goals. It must envision
a broader mission, encompassing its interrelationship with the world, with
society, and with the environment in which it operates. More than a school, it
must become a key actor shaping the fabric of the city—not just a key cultural
player but also a preferred partner, sought after by socioeconomic and
institutional spheres.

In keeping with this
holistic vision of the teaching enterprise and cross-fertilising models based
on lab work, seminars, and business, HEAD – Genève is multiplying its
relationships with socioeconomic partners, at whose behest the school carries
out forty to fifty commissions every year. Some of these commissions are modest
in scope but have a broader significance, such as the creation of a visual
identity for a humanitarian organisation, while others take on a complexity and
scale that are unusual for a school. In this regard, let us mention the
development of the signage for the WTO headquarters, the creation of a booth representing
leading watch brands at Basel World, and recently the stage set for Hermès/petit
h’s annual sale. These services are developed via the school’s five main
departments—visual arts, film, visual communication, space design and interior
architecture, and fashion, jewellery and accessories—and generate close to CHF
1 million in revenue. On the design front, these collaborations involve
producing graphics, signage and visual identities, conceiving and carrying out
architectural work, developing and manufacturing industrial products and participating
in event production. In terms of visual arts, the partnerships give rise to undertakings
in public and private spaces and to participation in cultural events such as
festivals, exhibitions, biennials, and art fairs. So as not to compete, even
within its limited scope, on terms that could be considered unfair, the school
prices its services at market rates.

These creative
opportunities on a 1:1 scale result from a strategy that HEAD – Genève has been
developing since the school’s inception, which rests upon three key principles:
(i) to do more than what is typically expected from a school; (ii) to play a
political role and be an actor in the city; and (iii) to think about teaching
in terms of professional outcomes. In contrast to the notion of school as a
sanctuary operating in isolation with no direct links to the “real word”, HEAD
– Genève prefers the more up-to-date concept of a melting pot of interactions
and partnerships that enrich all involved.

School as an integral part of the local ecosystem

internationally renowned school must reflect the essence of the setting in
which it operates. In view of the multifaceted socioeconomic circumstances it
must navigate, HEAD – Genève develops its activities at the intersection of
these various dimensions. Clearly reflecting its roots in the city of Geneva, in
terms of both its many resources and numerous contradictions, the school works both
with the WTO and the luxury goods sector as well as with NGOs, organisations
that fight illiteracy, LGBTQ groups, associations defending asylum rights, etc.
The school is present in all aspects of the life of the city, while itself
being inclusive and impacted by all the questions and issues affecting the
city. This multidimensional positioning is a challenge, but to be able to
afford a glimpse of this “post-school” reality in which students will have to
find their place is also a significant pedagogical opportunity.

“Playing for real”: School is no
longer a simulated environment

Time spent as a student
in an arts and design school is often one of utopian enthusiasm. It is a
protected environment enabling students to sharpen their skills and discover
their own language. This invaluable aspect of higher education is paradoxically
at the source of the frightening chasm that opens up at the feet of recent art
and design graduates: the reality of the creative endeavour in an actual
professional environment.

Working on concrete
projects in collaboration with organisations outside the school constitutes a
way of addressing this situation, of anticipating it. It offers an experience
that is not typically available in a traditional pedagogical framework,
integrating the issues of creation, invention, and personal creativity into an actual
socioeconomic reality. Indeed, while the projects are conducted under the
supervision and with the support of faculty, fulfilling the various mandates
and commissions is always and above all the responsibility of the students. Any
ideas presented to clients are theirs and they own the entire research and
creation process. In this manner, students perceive the trust placed in them by
the clients and the school and from that, they draw a singular motivation and a
pride that is invaluable to their future career. This real-world creative
experience also gives them legitimacy and makes them particularly attractive on
the job market: They graduate with a portfolio including projects that have
actually been realised, in partnership with significant economic actors, and of
which they are the creators or co-creators. Finally, these collaborative
creation processes amongst students, who are encouraged to establish work
teams, promote a balance between competition and solidarity—indeed, many
executive teams originally constituted in the school setting subsequently set
themselves up as studios or collectives, often multidisciplinary, in part as a
result of these real-world experiences conducted while in school. Contrary to
certain preconceived ideas, these commissions do not, a priori, eliminate the
freedom intrinsic to the creative process or the utopian element that students
fundamentally seek: Not only do these commissions retain a fundamental element
of freedom, they constitute a carefully measured ingredient in an educational
undertaking that involves very diverse work situations, from the research lab
to the professional production studio.

The attractiveness of schools for socioeconomic

As brands sometimes
entrust us with significant aspects of their future or their image, it is
interesting to ask what makes HEAD – Genève such an attractive partner. First and
foremost, however, let us emphasise that engaging in a partnership with the
school is never a function of minimising costs. The school’s success must thus
be based on something else.

The distinctiveness of
a school like HEAD – Genève resides in its students’ particular critical
insight and singular outlook and in the multiplicity of their ideas. In the mad
rush of research and innovation, these very young creators, still unscathed,
are able to sense the shape of things to come. This promise of the unexpected
is complemented by the vast diversity of approaches and visions that is
fostered by the simultaneous work of several teams on the same project. This
richness is directly related to the school environment and cannot be offered by
a traditional professional creative entity.

The pedagogical aspect
of these collaborations is the source of another advantage noted by our
partners, namely, a greater level of involvement of the clients in the creative
process. They have to engage, explain and elaborate on the details of their
project, its characteristics and development, etc. This situation is much more challenging
and thus much more interesting and stimulating for the clients.

Finally, it is
important to mention the symbolic added value of this type of collaboration.
Historically, Switzerland has developed a very strong connection between the
business world and professional training. It is gratifying for a Swiss
entrepreneur to be involved in training young people and it is without undue
pride that we can assert that the involvement of HEAD – Genève has become an
assurance of quality in this respect.

Freedom to contract: Never
undertake commissions for the wrong reasons

HEAD – Genève receives
quasi-daily inquiries from potential business partners, and the school turns
down more commissions than it accepts. The Swiss educational system grants the
school the immense privilege of not having to depend on business collaborations
to survive, which means that the school can avoid finding itself reliant on its
partners. HEAD – Genève is thus never tempted to accept a commission or working
conditions with which it is not entirely comfortable. This radical freedom is
essential to the pursuit of the pedagogical undertaking to which the various
commissions and mandates contribute. Engaging in a partnership thus depends
strictly on its relevance to the curriculum and to the students. Commissions
are taken under consideration only with regard to the degree of stimulation,
creative challenge and particular experience they may offer students and
teachers. In our vision, questions regarding the image, renown, or prestige of
a partnership are much less important and financial considerations are not even
part of the picture.

This means that, ever
vigilant, we are always in control, and contrary to any mode of subjection, we
are fully able to impose our ethics and the moral principles that underlie our
position as artists and designers and responsible participants in social

About the authors:

Jean-Pierre Greff, Director of HEAD – Genève since its creation he led in 2007.

Roxanne Bovet, alumna of HEAD (2016), assistant editor.

Image credits:

Nouveau Campus HEAD, bâtiment H © HEAD – Genève, Michel Giesbrecht

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