Abigail Grewal’s collection was inspired by her childhood love for creating light movement using sparklers. What began as playful experimentation evolved into a more intentional creative process as she grew up and began to use the shutter speed function on her camera to create beautiful light movement photographs. The photographs influenced the print design in this collection.
The starting point for Abigail’s graduate collection was The Florida Project Film. It gives an insight into an American Childhood with resiliency and freedom through being yourself.
The imagery informed the collection’s mood and colour story. The film led to research into American suburban life including 1970s suburbia and 1930s depression era. Stephen Shore’s imagery from a road trip in 1970s America was a key piece of inspiration.
Designer, Dayun Lee’s, creativity comes from her interests. Before starting the concept, she usually researches art movements and historical visuals of the women at the beginning. These could be from the book, movie or art. She found that women in the past and present give her interesting point of views as a womenswear designer.
For example, 1930s representation of female bodies was interesting topic that she wanted to observe. She loves how it depicts in various ways.
Adela Babinská’s collection was inspired by the physical impossibility of her two desires- to stay at home and to study fashion design. Ever since she moved away from her family in Slovakia to the UK, she has wished she could live at two places at the same time. She would love nothing more than to experience bilocation - the state when a person is simultaneously in two places at once.
The SS/19 collection is inspired by Body Modification, body modification transcends any cultural boundaries. During the process of my design development I Looked at both the primitive and modern primitive practises in a contemporary society were consumer culture uses the Body as a representation as well as a display of a source of identity.
“Bodies are sites of representation, are not only physical but communicative” (Atkinson, 1971)
Alejandra Herrera’s collection is heavily research focused in order to develop a six outfit collection that narrates a story of her mixed cultural identity, celebrates her Colombian heritage and fully expresses a loss of innocence due to drug and political corruption. With a mixture of touch points including: The wedding dress, undergarments, corsetry, the crinoline, petticoats, Medellin's festival dress and the Colombian drug corruption, Herrera’s collection displays juxtaposition of beauty and corruption.
Alexandra Afanasyeva’s graduate men’s jewellery collection is dedicated to polar expeditions. Conceptually the collection evokes the spirit of exploration which is closely linked to such notions as identity and rite of passage.
Climbing gear, survival equipment and various tools including ones from Inuit tribes and those dating back to the Ice Age are the main basis for the collection.
‘Electric ladies’ explores groupies in the ’70s as represented by Baron Wolman, one of the photographers of the Rolling Stones magazine and the distinction between them and the rock bands they were admiring and following. The project focuses on the feminine and eclectic style of this group of ladies, the freedom they exude through their appearance, attitude and lifestyle. Contrary, the band's look was simple, tailored, structured, typical 70’s fashion, but still having that edgy, rock aspect.
The theme of this collection is representing events during one of the most important occasion happened during XX century which is Cold War. “Cold War” is a well-established phrase, denoting a period of tension between the USSR and the USA in the second half of the 20th century, against the backdrop of the nuclear arms race and the promises of Nikita Khrushchev “to bury you” and “show Kuzkin mother”. The period of the Cold War lasted from 1946 to 1989 with varying degrees of frenzy and completely sunk into oblivion in 1990-1991, with the uni cation of Germany and the collapse of the Soviet Union into small pieces.
@KNITWEARBYALEXANDRA worked in collaboration with embroiderer Amelia Skarpellis to create a new generation of punk. Together, they wanted to celebrate advancements within the textile industry and create a collection that appreciates the scope of possibilities that fun and vibrant textiles brings to today’s fashion industry. Their aim: to develop a new wave of punk – just as rebellious, embracing colour and unmasking societies playful side.
Material Memories explores the construction of memory and identity in relation to materiality, through a collage-like autobiographical narrative. The collection delves into family memories and temporalities, engaging in an ongoing process of defamiliarization and refamiliarization which understands memory as a construction based on ever-changing patterns and textures.
Bacha posh means ”dressed as boy” in dari. In Afghan culture, boys are considered to be worth more than girls. If there are only daughters in a family, the parents can choose one of them and make her into a bacha posh. A bacha posh is a make-believe son, a girl that for a period of time takes on the role as a boy in the family."
Bacha posh is not only about girls being dressed as boys – it is about women’s situation in Afghanistan. I grew up with my grandmother, and I have seen what it looks like. Dressed as a boy, the girl has more freedom. The clothes thus become a vehicle to expanded freedom.
Alice Callum’s graduate collection, ‘BLOSSOM AFTER MIDNIGHT’, explores the concept of how the body can become an artistic medium through the essence of performance both on stage and in the street. For years the body has been used as a medium to translate the essence of art through performance. Focusing primarily on 20th century performance, she explored a variety of performances from the Ballet Russes and the works of Leon Bakst to Marchesa Casati to late 20th Century performers such as Leigh Bowery, Bowie, Lindsay Kemp and the rise of club and drag cultures.
Alice Elizabeth Clarke's Graduate collection aims to challenge perceptions of female sexuality and stereotypical femininity. Her designs are informed by her intellectual research into female artists/writers such as Charlotte Perkins Gilman and Ellen Von Unwerth, transferring political views into fully stylised looks aiming to free women from the sexual boundaries created by society. After reading about Perkins Gilman and other feminist writers discontent with marriage, Clarke was inspired by romantic Edwardian wedding portraits.
Alice’s collection was inspired by historical sportswear silhouettes from her dad’s personal Olympic magazine collection. From these she established large billowing shapes in contrast to tight restrictive bodies, this became the foundation silhouette throughout each of her designs.
Alice enhanced this silhouette through 3D development, using personal swimsuits ranging from different periods in her competitive swimming background.
Alice Oliver's collection was heavily inspired by Glyndebourne Opera house in the 1930s, she has spent many summers working there so it is a concept which is very close to her heart. Images of men in sport suits and women in elegant slip dresses provoked an exciting story of romance, nostalgia and sophistication. The collection celebrates the performing arts and the story of going to the opera in the middle of the british countryside.
Alice Pons’ graduate collection, ‘NEVERLAND’, was inspired by a long lost picture, found hidden amongst childhood belongings. A five-year-old Alice, wearing her father’s black suit, beams unknowingly into the camera whilst unconsciously playing with the lapels of the jacket.
The photo communicates the innocence of youth, and the pure joy that can be derived from wearing a garment when unburdened from the self-consciousness of the adult world. This snapshot of youthful naivety has inspired this collection, which looks to recreate the blissful ignorance of a child unaware of the meaning of fashion.
The collection Dans Les Bras de Morphée was inspired by two of her passions: Greek Mythology and Philosophy/Psychology. Her artistic inspirations varied from Surrealists and Jean Arp to Julia Crabtree, from Ernesto Neto to Ancient Greek statues and classical Renaissance statues.
Through the research of the unconscious mind and how it relates to the ancient myths that have forged Western society, she was able to create her story of four goddesses in our present world: Aphrodite, Artemis, Hebe and Persephone. Each of them representing a part her my own and our collective psyche, these strong female entities were both Powerful and Protected, ready to face our contemporary society and its challenges.
Focusing on the body and movement, particularly within dance was a major influence when it came to Alvin Lam’s first collection. By looking into the history of dance and seeing how it has progressed through the ages allowed him to understand how the art is connected to romance and sensuality.
After interviewing dancers Alvin learnt how important the waist and the legs are, predominantly within ballet. Focusing on the muscles in these two areas allowed him to create designs that enhance the beauty of these.
Amber Kim’s collection is inspired by her attraction to fun, exciting and carefree experience. However, her personal experience of music festivals demonstrated the negative impact on the environment that the entertainment and creative process can cause.
She has used sustainable thinking, skills, and creativity to address the environmental issues that harm the ecosystem. Her sustainable approach was applied throughout the whole process. Every stage of the process should be resourceful, responsible and retractable.
Amber May’s graduate collection was inspired by bodily kinaesthetic intelligence. The ability to construct physical objects which evolve through the repetitive hand movement fascinated her. Led by the creativity of ‘Hands’, she explored physical evidence of this whilst travelling in Bangkok, Thailand. Captivated by architectural patterns and hand crafted applique tiled surfaces, it was an immediate source of inspiration for the collection.
Amy McCann’s collection was inspired by her dissertation, covering the issues behind the female form in the sense of how accessible plastic surgery is in the postmodern world. She explored the manipulation of the female form to encourage the 3-Dimensional design which can be seen within the development of her final collection, following a route of artistic and conventional design using mannequins to work on the stand and drape materials in order to grow the research she produced.
Merging fashion and illustration, Amy’s collection tells a narrative through surface pattern elements that can be interpreted and told in multiple different ways dependent on the interpreter. Responding to this by using a personal illustrative style to create stories within the garments based upon a primary research project creating a narrative based upon views of beauty; questioning what beauty can be defined as and how stereo types can effect perceptions in society, challenging and encouraging difference.
My graduate collection was initially inspired by the movie ‘The Normal Heart’, describing the HIV/ADIS crisis within gay men’s community in New York City in the 80s and their struggles among genders, life and death. ‘Day Without Art’ was launched on Dec 1st, 1989, and until now, it was to demonstrate compassion for artists who lost their lives to AIDS and many who are still living with it around the world. It also raises awareness about this pandemic that is still spreading and incurable.
Anna Lowe’s collection was inspired heavily by female fighters and protectors from the past and present, whilst including family references. During the summer she visited the Women’s library, Museum of London and the Imperial War Museum for initial research, and went through family photos. Structured uniforms, pleated skirts, draping and volume were all key links she found between her various points of research. This inspired Lowe to create a womenswear collection exploring tailoring and draping to create empowering garments.
This collection is not inspired by trends and aesthetics. This collection is inspired by people and materials to shift the focus towards a more conscious fashion identity. The design process demands creativity and strategic thinking of fashion designer who are trained to focus on aesthetics. They have an essential role and their power of decision-making need to support a sustainable future. Collaborating across disciplines challenges designer to think beyond the fashion design process as we know it. This collection is based on three diverse collaborations which discover a variety of pathways that lead to garments with value and quality.
Anne Marie K’s collection revolves around a journey down the Nile taken by a woman in the 1940’s. As she travels through an almost ”Timeless” Egypt. Each statement piece tells a story. The colours used in the garments are derived from the scenery in Egypt; a lot of blues, greens, and beiges and mustardy oranges.
The materials used encompass Egyptian ”dying art”, including Tulle bel Telli, Tent-making, glass-blowing, Sadaf Jewelry boxes technique, fishing nets, and more. Anne Marie K chose to use these particular methods to help the women’s position in the Egyptian society and break extremist social norms.
Having spent her time in the halls of London’s elite fashion schools and surrounding herself with industry peers, Annie began to notice a stark similarity. Black has circulated saliently, a modest staple in wardrobes and central piece to many designers’ collections. She poses the question, how many black items do you have in your wardrobe?
Her research then started off with two simple queries: What is black? Why do people love wearing black?
The eye often plays tricks on us. We usually see what we want to see – our brains way of filtering out all the tiny nuances that would otherwise be too overwhelming. Anson Lau, a Textile Design graduate from Central Saint Martins focuses on these preconceptions and more often than not misconceptions. Taking some wise words from the wise philosopher Aristotle to heart, “our senses can be trusted but they can be easily fooled”, her collection focuses on the disparity between what we see and what actually is.
Atelier Jen focuses on creating bespoke statement pieces that are colourful, decorative and highly detailed. Made from layers of durable paper, securely glued together, then decorated with gold and silver leaf overlayed with an array of pattern and colour. When finished they are coated in waterproof varnish.
The fundamental step is choosing the background papers, hand painted textures with gold, silver or copper leaf designs are prepared meticulously. The paper and template are then merged by cutting and gluing together layers of paper to achieve the required thickness.
Ayşe’s collection is mainly inspired by the mystical relationship between objects and humans. Besides her passion for collecting materials, she is also interested in the construction of cabinet of curiosities, the human subconscious, memory and the psychological phenomena called Pareidolia. Her aim was to create a dream-like narrative constructed with different objects each having a personified character inspired by history and mythology. Her collection is a representation of each character through the expression of their faces and eyes.