1960s China witnessed the rise of the cultural revolution, a political movement that was reflected strongly in the fashion of its time. With the importance of these newfound sociopolitical ideals, utilitarian and unisex fashion was rife – the idea was to place emphasis on collectivism. Clothing throughout the masses were very similar, a sea of dark blue or green tunic suits paired with white shirts.
The idea of the collective through clothing in contrast with later eras of fashion that emphasised individualism sparked an interest in Womenswear Design graduate Haipu Zeng.
Hannah Gilbert is a young British designer who spent most of her childhood playing sport and creating art. Through sport Hannah appreciates working in a team and recognises the power of female comradery. She graduated Kingston School of Art. From studying art and design throughout her education this demonstrates her ability to work independently. Travelling has influenced Hannah to observe all the different women of the world and appreciates how their roles vary between different cultures. She highlights her belief in dressing women with clothes that make them feel independent and powerful, and ready to take on any mission.
Hannah’s collection explores human existence within everyday life - initially, she focused on herself and documented what she wore for a full year, before exploring further. A lot of her wardrobe consisted of both men and women's tailoring - which she has chosen to clearly reference within her collection in the form of both garment types and fabric choices. The process of rapid realisation was used to explore the formality of already existing garments in unconventional ways, through styling, combining fabrics and textures, as well as colour to visualise an initial starting point for the collection. Men's suit jackets and duster coats became familiarised garments of everyday life and were developed further in relation to Wurm’s very square KASTENMÄNNER sculptures of clothing.
Honor Cameron’s graduate collection, Blackberrying, was produced in response to the designer’s introspective outlook. The project aims to convey a nostalgic longing to be a child again she experienced when suffering from adolescent depression which was intensified by the pressures of growing up. The melancholic narrative of Sylvia Plath’s poem and namesake of the collection, Blackberrying, influenced the direction of the project.
Inspired by her trip to Rome, Italy in the summer, Hope was fascinated by the sculptures, paintings and architecture of the Trevi Fountain, Sistine Chapel, Colosseum and the Doria Pamphilj Palace. Hope learned about ancient Rome, Roman gods and goddesses and mythical creatures, which gave her ideas about creating her own mythical creatures and beings in a surreal world.
Hope combined her large expressive paintings together with distorted photographs she took in Rome, into colourful busy prints, to create a visual of A Surreal Rome. Her paintings are created with large brush strokes and mixtures of mediums such as acrylic paint and pen.