Creativity at Work

Behind-the-scenes visits to Chanel's flagship store and a perfumery in Paris aren't ordinarily part of the typical study abroad itinerary. But last summer, they enthralled alumni from the Fashion Institute of Technology (FIT)—and raised money for study abroad scholarships for current students, including some who would be experiencing "their first trip out of the borough, much less New York," says FIT Dean for International Education Vanessa Nichol-Peters.

As part of the State University of New York (SUNY) system, FIT offers a unique program with a global reputation while still operating within the constraints of a public higher education system and endeavoring to make opportunities accessible for all.

In recent years, the institute's leaders have taken a more entrepreneurial approach to creating "awesome but affordable programming that fosters creativity," shares Helen Gaudette, assistant dean for international education.

There's so much buzz around these programs. We're trying to create as many opportunities as we can. —Helen Gaudette

The Creative Drive

This kind of entrepreneurial thinking is essential for international education leaders navigating today's disruptive higher education environment. The search for novel approaches also transcends higher education as recent decades have seen the publication of a number of best-selling books on cultivating creativity, including The Creative Habit by Twyla Tharp, The Artist's Way by Julia Cameron, and The Creative Act by Rick Rubin.

These books posit similar theses: Creativity is an inherent part of human nature; everyone can cultivate and enjoy the expression of their own creative faculty; and creative thinking and practices are applicable to all professions and many parts of life.

Creative thinking in international education doesn't require an institutional mission focused on creative fields. It's already woven into the DNA of the field itself—and can be cultivated by those who work in it.

"International education lends itself to allowing students to think very creatively—and allowing us to lean into being creative in designing solutions and programs," says Nichol-Peters.

Thinking Like an Artist

By virtue of their diverse backgrounds and exposure to different countries and cultures, many international educators have developed similar mindsets to those of their counterparts in creative fields, allowing them to navigate ambiguity and find new opportunities when faced with constraints and challenges.

"Artists more easily make connections [between] dissimilar things. The things you might have to achieve in your art are around nuance and not what's in the main corridor," says Jon Rubin, director of COIL Consulting and 2026 recipient of the NAFSA John and Anne Hudzik Prize for Sustained Leadership in Higher Education Internationalization. "When you're talking about interculturality, you're talking about things that on the surface look similar but are [actually] dissimilar—or vice versa. That allows you to think of things that [others] might not see so quickly."

International education lends itself to allowing students to think very creatively—and allowing us to lean into being creative in designing solutions and programs. —Vanessa Nichol-Peters

Rubin—who shares a last name with The Creative Act author and music producer Rick Rubin—would know. Before helping develop virtual exchange programs at SUNY-Purchase (see feature), he was a media artist and filmmaker.

Building the Muscle

Rick Rubin would argue that everyone can cultivate creative approaches to their work and lives. One key to doing this in practice, he writes, is developing awareness and strengthening powers of observation—a skill those who work in international education have honed.

If you're in the creative arts, you have to be open to seeing what's happening over your shoulder, not what's right in front of you. You have to be alert. —Jon Rubin

He and other authors also emphasize the importance of developing practices that can spark and support creativity. The Artist's Way author Julia Cameron focuses on routines that strengthen creativity, including a start-of-day "morning pages" brain dump. In The Creative Habit, Twyla Tharp focuses on the importance of a wide range of rituals and urges consistency in following them.

Individual practices and routines can be found in these and similar books, but what does fostering creativity look like in the day-to-day operations of an international office? Here are a few examples.

Collaboration as a catalyst.

International educators are often intentional about building collaboration with stakeholders across different departments for practical reasons, but these relationships also introduce different points of view that spark new ideas. Both informal conversations and more formal structures, such as cross-departmental international education advisory committees, can provide new insights. "It's very easy to stay very siloed in what we do, but [collaboration] is very valuable," Nichol-Peters says.

There's a value to having creative people working in this area, because some of them will see things that others don't. —Jon Rubin

Spark interest.

At FIT, virtual talks that started during the pandemic continue on a regular basis. The Globally Connected @ FIT discussions led by students, faculty, and alumni cover a wide range of topics, including fashion, art, sustainability, and current industry trends. They also "showcase and celebrate the global connections we have," Gaudette explains, helping spark connections and new opportunities.

Build and support a creative team.

Recruiting individuals with diverse backgrounds and perspectives allows new ideas and viewpoints to surface. "There's a value to having creative people working in this area, because some of them will see things that others don't," Rubin says.

Embrace constraints.

Widely seen as a catalyst for creativity, constraints can create a productive tension that generates novel solutions to problems. At FIT, for example, study abroad opportunities focused on creative disciplines must maintain the same risk management strategies, procedures, and cost considerations as programs across SUNY. That's led to exchange programs with institutions like the London College of Fashion that allow students to study at the regular cost of tuition as well as more than 60 virtual exchange programs with institutions around the world. At the same time, FIT's programming must also bridge the creative nature of coursework and practical, real-world considerations. For example, short-term programs for packaging design students involve creative work, but students also visit ad agencies and factories to learn how design projects play out in the marketplace. "We're building programs and spaces for students—and ourselves—to have those dual moments," says Nichol-Peters.

Cultivate time to observe.

"If you're in the creative arts, you have to be open to seeing what's happening over your shoulder, not what's right in front of you," Rubin encourages. "You have to be alert."

When incorporated together, these traits can help international educators navigate the sector's ongoing disruptions in new ways. They can also directly benefit the students education leaders serve.

At FIT, a new alumni program in Japan, planned for summer 2027, sold out in 40 minutes—supporting more study abroad scholarships for current students. "There's so much buzz around these programs," Gaudette says. "We're trying to create as many opportunities as we can." •