La Barbera FW 2020-21 Collection ‘Oggetti Quotidiani’ focuses on the relationship between people and objects. The starting point of the collection is a series of trips that the designer took in London, Paris and Milan. Where he purely observed the people walking on the streets during their daily routines. From the thousands of images collected it is possible to see how everyone in the pictures was carrying something and inevitably was influenced in his behaviour by the objects carried.

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Larissa Hazejager was intrigued by the unknown history of her ancestry. Her source of inspiration was to find out more about her heritage in the East. Her family, who are descendants of Peranakans are the locally born chinese immigrants who travelled and settled in the Malay Archipelago. Their customs and traditions are so striking, the wedding and funeral attire of rich colours, patterns and decoration which her collection to explore menswear in such a way of adornment and fluidity.

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Laura’s graduate collection is about the journey of a mysterious woman living in a far away world. This collection is inspired by two very different yet both highly detailed types of clothing. On one hand, it was influenced by the 1870s Victorian fashion which is well shown in the handcrafted detailed elements.

On the other hand, there is the modernity and cleanness of space suits and science fiction, which has led to a dramatic but realistic fashion story.

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Laura Gacci’s collection celebrates success and failure in the workplace. Often, in fact, behind an objective are many failures. These last ones are needed for ‘build’ the steps of a solid staircase that leads to success. Practicality and uniqueness join together and translate into a combination of different materials and in the originality of the construction cuts that recall the elegance of the lines of Art Noveau. The woman’s collection is active, with masculine attributes, great femininity and a strong desire to assert herself.

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Inspired by Smokey Mountain II in the Philippines, and moved by the Japanese culture of mending and treating your clothes well I wanted to create a collection that portrays love and care as well as an ironical take on contemporary consumption culture. The collection is a playful take on the deconstruction of garments, aiming to portray how we have some many unnecessary garments. Various looks of the collection consist of garments merged together which can be worn in multiple ways by buttoning them up in various places.

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Laura Merrett’s SS20 graduate collection ‘It Started in Naples’; designed for a bold and powerful high-flying city woman, who in turn favours a more whimsical vacation style wardrobe for the summer seasons, mixing heritage tailoring with a soft flowing drape. The 1960 film ‘It Started in Naples’, featuring Sophia Loren and Clark Gable, formed the starting point for this collection with the film providing both historical and geographical information.

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Laura-Shannon’s collection was heavily inspired by festival culture; predominantly focusing on The Burning Man and its 10 Principles.

‘Make Everyday a Festival’ is heavily influenced by the ‘Radical Self-Reliance’ principle, (which symbol replicates a flower shape), from The Burning Man Festival; encouraging people to discover and express themselves and rely on their inner resources.

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Lauren’s collection was the result of immersing herself in traditionally working class environments, namely pubs and boxing gyms, with the intention of returning the image of the working man to one of heroic romanticism, rejecting the usual visual references of functional workwear. Exploring the rich heritage of her hometown and its revered leather industry, she worked closely with numerous saddlery companies, using donated leather offcuts to create the entirety of her collection, using laser etching technologies to add decorative surface design, originating from her own sketches.

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It was 2017, acid attacks in London were frequent as well as consistent fears of terrorist related plots looming in the air for most Londoners.

At the time, Lauren (founder of Cutforth & Conquer) had been busy immersing herself in as many British music festivals she could get her hands on, she adored the fashion, and the constant reference of 70’s sequins and fashion was hard to ignore, “I suffered terrible with transport related anxiety so festivals were a good way of escaping reality”.

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Based on how body modifications are seen as normal nowadays, Lawrence intended to accelerate the process on a much larger scale; envisioning a future society with synthesised human.

We, as the beacon of evolution seek for greater strength and abilities beyond our corpse could offer, therefore, the “upgrade” becomes a must for surviving in such crucial environment.

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“See you in the fog” is set at a summer night rave in a forest outside of Stockholm. It is referencing the teenage fear of not fitting into an adult world, and their attempts to adapt and finding out who they are. The results are silhouettes that are glamorous and fabulous and celebrating individuality and self love. It deals with a world of opposing contrasts, where natural rawness meets artificiality, tradition juxtaposes new social norms and trash left at a party contrasts new ways of preserving nature.

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Trying to understand her own identity, Linh Nguyen has turned to the 1980s to discover the beginnings of the merge of Czech and Vietnamese culture. Her graduate collection was driven by the stories of her parents when they left post-war Vietnam and were moved to Czechoslovakia at the time and how they rediscovered youth in a new context. There was something so strongly contradicting, but so well hidden under layers of heavy textures and prints which she wanted to convey.

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Linyun Yu’s collection ‘LEAN’ was inspired by psychological phenomenon of grudgingly grouping together in social interaction. Leon Festinger argued that people depend on social reality to determine the subjective validity of their attitudes and opinions, and that they look to their reference group to establish social reality.

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Liza came across an image of Sarah Bernhard in the role of the Byzantine empress Theodora and the image got stuck in her head. It emanated intense power, but also there was a sense of vulnerability, timelessness and very pure femininity. From that moment on she knew what she wanted her collection to be.

The center of her research became the topic of women in history/art who were portrayed as creatures able to enchant and enslave anyone who crosses their path, such as Oscar Wilde’s story of Salome and the dance of 7 veils.

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Loom Loop is a design partnership between Polly Ho and Andy Wong. Inspired by a trip to Guangzhou, the couple discovered an interesting heritage fabric. When the designers saw the heritage fabric called the Canton silk, they were bowled over by the artisan techniques employed to dye the silk, using plant based dye, river mud and solar power.

This collection embodies a mixture of traditional craftsmanship, with the heritage Canton fabric, along with a modern approach to contemporary individualism.

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“QUEER REVOLUTION” x Lorenzo Seghezzi is inspired by the Italian queer revolution between the late 70s and early 80s, its bound with punk movements and arts. The goal of this collection is to criticise how extreme machismo and masculinity were and still are a huge problem in the queer community. His personal view of masculinity is emphasised with strong silhouettes with wide shoulders and tiny waistlines in the first half of the collection while the second part frees itself from this toxic machismo showing a more soft and slim shape.

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Originally fascinated by the idea of opening up closed forms, through a meditative process, sketching, Lottie began exploring how she could apply internal space to closed forms. These 2D spatial exploration sketches provided a platform of inspiration for her collection.

Through a transition between dimensions, she took the initial 2D forms and transferred them into 3D form through cutting and draping fabric onto a body. The cutting of the fabric exposed the inner space between the fabric and the body and allowed the idea of space to flow through a garment.

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Louise Desoeuvre’s AW/20 collection ‘Magnificence of the East’ is inspired by her Russian and Breton heritage. It is an emotional and powerful tribute to her great-grandfather, Ivan Ivanovitch. a Cossack, obligated to leave Russia during the revolution in the early 20th Century. He and his brother, Vassili Ivanovitch, survived and came to France. They lost everything but always kept their dignity. Louise was inspired by their strength and elegance to create powerful designs.

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Graffiti is often considered tasteless but I personally see it as a form of self-expression. My aim was to demonstrate that graffiti can be aesthetically pleasing when made to look like art. I love the idea that no two pieces ever look the same. I have ensured that my prints show a wide range of skills and techniques, which I acquired during my time at university, such as the use of dye sublimation and screen print foil overlays.

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Lucy Saltinstall’s collection was heavily inspired by the High Line in New York, which she came across last year whilst visiting the city.

Incorporating the juxtaposition of brutalist structures and the resilience of nature into her designs, Lucy created an androgynous womenswear collection featuring a mixture of tailoring, knitwear and sportswear detailing, a new genre to portray the clashing of these two concepts.

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In Lydia Fung’s MA collection Nebulous Erotica, she is trying to see new age intimacy through her own world. Lydia started with her 2D visual exploration to express the freedom of endlessness and formless erotica in the digital age, there are no ends and beginnings of bodies in her images, every interaction, every object, subject is formless.

It is amorphous, it is raw, it is not fixed, it is freed. How bodies interact intimately with each other is purely based on the essence, based on a formless bond, based on the tension in between.

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