Meet: Frank Levine
- Written byGiada Maestra
- Published date 28 April 2026
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We caught up with alum Frank Levine to discuss his College years at UAL and his journey through the fashion industry during the 1950s and '60s.
Hi Frank! Tell us about yourself.
At Central Saint Martin (CSM), I undertook a foundation course, beginning in 1956, which I believe was a prerequisite before any form of specialisation could be considered. Upon completion, I had to decide which of the available disciplines at CSM would provide the most suitable basis for a career.
The transition from a strictly religiously segregated grammar school to Central Saint Martin was not without its difficulties. Apart from those occasions when I was expected to apply myself seriously to study, my time there felt more like an extended vacation.
At that stage, my decision was influenced by two people in particular: my father, who held a senior position at one of the “separates” fashion companies located in Great Portland Street, and an uncle who ran a successful advertising agency in addition to his duties as a lecturer at the Distributive Trades College, situated next to Central Saint Martin, on Charing Cross Road.
Anything related to commercial art in those days required meticulous attention to detail. After considerable thought and discussion, I chose what I believed would be the easier route for artistic expression and opted for fashion.
When I left College, the London fashion scene was dominated by perhaps ten or so haute couturiers, competing in their own way with the great fashion houses of Paris and Milan. The training I had received had prepared me for haute couture, but nothing related to ready-to-wear or mass production of any kind.
My objective was to obtain an apprentice position with one of these couturiers, but this ambition was quickly thwarted. No one among my family or friends had any real connection to this exclusive world. I managed to meet the personal assistant of Norman Hartnell and produced a series of elaborate evening gown designs for the meeting. The discussion was pleasant enough, but without the benefit of proper introductions it was made clear that I was unlikely to secure the position I sought.
I tried a few positions within mass-production companies, but nothing satisfied my artistic ambitions. Eventually, an opportunity arose to establish a couture boutique in the heart of Mayfair. For about a year, I designed and made exclusive—and notoriously expensive— clothes for the local inhabitants and for clients from farther afield.
During this period, I came to realise that, even with the limited success of the venture, it was unlikely to form the basis of a sustainable career.
As an alternative, I secured an apprentice position with a coat and suit manufacturer whose business supplied approximately 1,000 garments a week to customers throughout London and the Home Counties. This position formed the basis of my career as a designer and is fully discussed in my memoir.
It is worth noting that when I first ventured out in search of work in the fashion industry, the principal concern of prospective employers was the extent of one’s experience. Paradoxically, 10 years later, when I eventually left the industry, the situation had reversed: employers seemed far more interested in youth than experience, with an increasing preference for young designers unburdened by the habits of the past.
It seems that a large majority of people my age suddenly feel an urge to write their autobiography or memoir. I decided that if I were to write an autobiography, it would probably interest only my children and grandchildren. However, since the path that led me to the career that sustained me for most of my working life was somewhat unusual, it may hold some interest for a wider audience.
I would certainly recommend Central Saint Martin to any aspiring fashion designers. Over the years, as I have maintained my interest in fashion design, I have noticed that more and more designers who graduated from CSM have appeared in Paris and other major fashion centres.
I have continued to paint in the years since leaving CSM, although now mostly in acrylics and in a style that might best be described as impressionistic. In an effort to distinguish my work from the large number of impressionistic painters, I have for some time incorporated geometric imagery into many of my paintings.
Although I have previously maintained a website and posted paintings on Facebook, I eventually removed myself from these platforms. They rarely generated any real interest in my work and increasingly felt like little more than “feel-good” exercises. Extensive examples of my work can, however, be found through the Richmond Arts Coalition.
