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Elisha Corinne’s debut collection titled ‘The Lost Boys’ came from her interests into travel and exploration of new places. Shackleton’s famous Antarctic voyage first inspired this story with influence from the equipment, clothing and surrounding environments.

During the design development process Elisha wanted to distort the normal shapes and silhouettes of garments. Enlarging and folding trousers and classic shirts then pairing these with fisherman inspired silhouettes creating a well-considered collection.

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Ellis’ latest collection, Origins, takes inspiration from the jewellery hoards which have been found across Scotland, containing pieces which transcend the centuries and encompass the heritage of many different lands.

Origins takes qualities from these hoards; a myriad of coins and jewels, fragments of history, pollinated from different areas. Sculpted in 14 carat yellow gold and set with diamonds, the Origins collection is a fusion of intricacy and erosion. Historical shapes are deconstructed into sculptural fine jewellery situated firmly within today’s modern world.

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Elizabeth Whibley’s graduate collection ‘DREAMING AND DOING’ was heavily influenced by her independent research visit to Tokyo in May 2017. The name of her graduate collection is a reflection of her mindset to live life to the fullest, achieve dreams and get stuff done! Visiting this colourful city fulfilled a childhood desire of hers.

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Emily began designing womenswear because, as a young girl, the idea of designing for men simply never occurred to her. It wasn't until her second year at Kingston University that a tutor assumed her clothes were for men, when all of a sudden the penny dropped. Ever since she has been obsessed with Mens clothing, from tailoring and formalwear to sportswear and RTW.

When studying abroad in Asia Emily became extremely aware of the stark differences between male friendships in the East compared to that of the West, and began to question the social construct of masculinity.

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Many words have been penned about the differences between the East and the West. The list is rather extensive, subcategories under umbrella categories. Emily He, a graduate from London College of Fashion BA Jewellery program, can speak extensively about this subject - a subject that inspired her graduate collection.

Having spent an equal amount of time in both Hong Kong and the UK, Emily’s voice on culture difference, habits and behaviours comes from experience.

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Islanders is a project that celebrates the lives of the people in the Philippines -Ericka’s place of birth. She wanted to portray the happy and colourful lives of the people that inhabit the Islands. She was particularly fascinated by the mode of transport that is widely used in the country - The Jeepneys. They are known for their crowded seating and decorations which have become a symbol of the Philippine culture and Art.

As someone who did not grow up in the Philippines, her view of the country is different to those that have lived their whole lives there. To the Islanders, the jeepney is a vehicle to get to work, school and home. To Ericka, it is a special reminder of the diverse culture that she is a part of.

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A variety of strange shapes and colourful, innovative materials can be seen throughout Xin Wen’s series of works. She incorporates different cuttings and colours that have a diverse chemical effect to enhance the wearer’s character.

She is inspired by fairytales, nature and life and uses a range of different techniques such as silkscreen printing, laser cutting and embroidery to create her designs.

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Stirred by her birth country’s nature and landscape imageries, Arguelles contrasted heritage lands like the rice terraces – carved into the mountains by the hands of Filipino ancestors and indigenous people – with mining sites caused by urbanisation.

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Foning Bao’s collection inspired by her grandparent's wedding picture in 1948, which is the time that China has been influenced by western culture for the most. she took the idea from the surreal western style flower shape of the bouquet and Boutonniere that her grandparents wearing, also with the combination of her grandmother’s eastern style vintage wedding flower fabrics.

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Frances’s graduate collection was inspired by the importance of utilising resources that would otherwise end up in landfill. With military themes and the utilisation of surplus garments, the collection experiments with urban camouflage and recycling. Drawing from contemporary trends to put down phones and become weekend warriors this collection was inspired by ideas of a utilitarian-cool aesthetic, with garments that can be worn in both urban and rural environments.

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Francesca Carini’s collection was inspired by her Italian heritage and the story of immigration from an agricultural lifestyle in the rural mountains of Italy to the liberal city lifestyle of London in the 60s/70s, taking a look at the Italian communities that formed there. She explored how culture and traditions from a simple, rustic way of life adapt to their new surroundings and the visuals of a new decade.

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The use of print throughout Frankie Dean’s collection is based on the Siamese fighting fish. Their territorial behaviour provided a parallel to how people assert their possession of space exterior to themselves and circle around each other in the same way as the Siamese fighting fish do when they are about to attack. Each drawing is layered with both straight and tape lines that expresses an externalisation of presence in space.

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The Initial Inspiration is taken from the concept of visioning beauty of local nature. Gemma has been heavily inspired by the beauty of nature and gardens of North Yorkshire where she would often be infatuated by scenes when walking her dog or driving through the countryside. She recorded her findings with photographs and then later used them to develop her ideas in an tactile and illustrative way through drawing and experimentation with fabrics and textures.

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Georgina’s graduate collection was inspired by Yayoi Kusama, a Japanese artist and writer. She would look through her arts pieces, painting and sculptures to help her to develop her own work. Finding out Yayoi suffered from obsessive-compulsive neurosis and hallucinations played a big part in how Georgina was influenced by the artist. She found both her work and her story mesmerising and fascinating.

Following on from this, Georgina discover a sculptor from South Korea called Choi Xoo Ang who is mainly known for his unearthly but highly intricate human figures.

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The collection was inspired by illuminated manuscripts. Illumination was used in historic periods to aggrandise ancient documents, being visually decorative to ornament text. This form of art added ornament but did not take away from the value of the words it adorned, rather it was an extension of what the texts expressed.

Using frames, text and ornament, Geraldine emulated a similar effect in her jewellery pieces. The metal has a deliberate rough, raw quality to it, emphasising the imperfections and scars the pieces have, almost as if they had ‘lived to tell the tale’.

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Gony Han’s graduate collection was inspired by a used packaging material richness in shapes. The pieces from the waste of the packaging have its own identity with colours, texture and shapes. She made a new creative shape of the pieces by her glance.

The pieces from the used packaging changed to new pieces. Gony discovered some interesting shapes by accident from the waste of packaging. She used it actively with collague and then draw it on the transparent paper to see how it comes out. Also, she used laser-cutting machine using some fabrics with shapes of the inspiration from the pieces of packaging.

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Every single detail of our Signature pieces are meticulously observed by Guchita's Production Team. From visualising the designer's artistic vision, making a pattern and production sample, until it becomes a marvellous piece of cloth. The craftsmanship process is currently based in Jakarta, Indonesia.

For this Spring/Summer 2020 collection, Shahnaz used the combined finishing for tailoring. In particular the techniques known as "Reverse", the placement of something that is out of the place. Guchita uses combination fabrics but with a more simple silhouette. Each piece is contemporary yet timeless.

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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.

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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.

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Holly MacLeod’s collection was inspired by her own personal style, considering the unconventional way she chooses to style herself from her eclectic wardrobe.

Following on from the research of collage, Holly took images and collaged over them to create unexpected, disproportionate silhouettes, showcasing a range of colours and textures.

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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.

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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.

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Image is in the core of IA LONDON’s design. When Ira develops a collection, image is the first thing that she creates. Designing either layers filled with colour or almost black and white reflects her imaginary dialogue with masters of art, like Dürer and Botticelli. The she moves on to transforming the image into a wearable luxury scarf, top or couture garment.

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I Ieva Skikaite’s inspiration for her collection derives from family background and her teenage years spent by the seaside, exploring the workwear attire of fishermen. Paying attention to functionality and menswear detailing, fishermen aspects such as ropes, cords and netting, together with a focus on waterproof gear, are dominant elements of her research and development. Ieva’s collection creates a character of a powerful, fierce woman using luxury fabrics, transforming and juxtaposing harsh fishermen details into elegant and flowy pieces.

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Ilona Hars’ collection is inspired by her home county, Norway, and the colour, texture and shapes found in nature. This was her main starting point for choice of colour and fabrics and her embroidery and manipulation developments. The silhouettes and details are inspired by vintage skiwear from the 1930’s and 40’s.

Throughout the collection she focuses on a strong contrast between luxury and sporty, in the use of luxurious, feminine fabrics and sporty webbing and waterproof zips.

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Imogen Evans’s graduate collection was influenced by society’s obsession with physical self improvement. She asks the question: “to what extent would you modify your body?”

Evans started the project by cutting up images of the body and rearranging them to create deformed, reconstructed figures. She then did the same with clothing - taking standard elements (collars, sleeves, cuffs, etc) and putting them somewhere new.

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A minimalist but complex tone embodies the ‘Flawed Beauty’ collection by Ines Vilas Boas, with a brand new approach to fabric manipulation, this collection managed to captivate and express the acceptance of transience and imperfection, the beauty of the imperfect, impermanent and incomplete. Imperfection is a form of beauty demystified in this collection, they became the tool for romance and poetry.

The asymmetric nature of the garments establishes the complex yet quiet tailoring featuring throughout the collection. The designer went above and beyond in order to create something unique that would express this idea of ‘flawed beauty’.

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Through primary research and growing up in one of the former Soviet countries, Irena combines her childhood memories, experience and interest in unusual materials to create her “Exhibit 91” collection, which is a representation of the idea about the “shared memory” that all the Eastern European kids experienced living in former USSR countries. Irena examined the differences between the generation living during USSR and the generation, the collective “we”, the architecture as a living archetype of the Soviet space and the lifestyle of those countries. The reason of her provoking concept is to put more light on those part of Europe labelled as Eastern“ not as a geographical territory but as a poor, unpleasant and not worth it to be seen countries.

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In a time where gender neutrality takes precedence, how has the conventional notions of menswear changed? James Reeves poses this question and through his designs, tackles some of these complexities.

Historically speaking, men’s dress was simply put, very straightforward – military uniforms, suit variations and white-collar attire. These styles were often crafted in traditional prints such as herringbone and houndstooth. These stiff dress regulations formed the foundation of James' garments.

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Jasmine Farmer’s collection explores the sensory elements of knitwear through creating intricate knit structures that reflect that of Braille. Jasmine’s collection is very textile driven and she brings life to the garments through powerful colours that stimulate the senses. Her collection focuses on organic fabrics that create interaction when worn through movement and tactility.

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The word ‘Grotesque’ refers to the combination of highly contrasting objects or concepts together. In the case of these illustrations, it is composed of the deconstructed human body, organs and natural creatures and artificial objects. By deconstructing the complete garments, inner structures are revealed and they are connected with free-style draping to create new designs and suggest unconventional ways of wearing

Jeonghyeon was able to create a new combination of design with a feminine mood through the use of exquisite material and tailoring. Successfully incorporating delicate details and intriguing elements to the design.

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Jennifer Moica designs are experimental, alternative and original. They come together to present a strong, contemporary look. Moica loves to be creative, everything is handmade, developed and manufactured by her. Each creation is all about uniqueness, from the designs, to the patterns, to the final production.

Moica’s inspiration comes from everything that surrounds her, from beauty, fashion, culture, art and music. Even the strangest and most preposterous thing can be an inspirational trigger for her.

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Jessica’s collection explores the representation and impersonation of witchcraft throughout the ages. She began by looking at 16th-century woodcuts and etchings that depict witches with disfigured hunched backs and forward shoulders, and from this, she developed some of her key silhouettes. The haggard physique of the witches mixed with their essence of mystical spirituality engaged Jessica both visually and conceptually which lead to her utilising exaggerated silhouettes.

As she researched further she became fascinated with both the Knights Templar and Joan of Arc due to them both being falsely accused of witchcraft to ensure their execution. At this point, she became captivated by armour and its function, specifically the pivoting Poleyn and detachable elements.

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I interviewed Tim Buckle, a retired Team GB cyclist and junior coach who told me about the world of elite cycling and what inspired him to take up the sport. He described watching Stephen Roche in the 1987 Tour De France dramatic finish as he reached La Plagne: “I flicked channel 4 on and it happened to be this epic stage race, Stephen Roche flaked out and needed oxygen.

The drama of it, how cool this guy looked, the colour, everything about it was fantastic. That’s what I wanted to do for a living.” The nostalgia and excitement of the competitive cycling world was another big inspiration to me as the project developed.

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The research process began with combining menswear with womenswear, starting with the mood board seen above. The inspiration started with looking at beautifully elegant 18th century menswear from the famous Fashion Museum, which as a Bath Spa student, Jill was lucky to have just outside her door step.

To contrast with the masculine theme, Jill also looked at women’s vintage lingerie from the 19th century, with focus on the camp corset with its winding cords. Much like fabrics used within these time periods, this collection consists of luxurious dusty pastel fabrics with rich lace and shimmering metallic textures.

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Jimin’s thesis collection Modern Girl reflects the collision of American and Korean cultures and the place of women within it. Passionate about hip-hop and street culture, Jimin rejects misogyny and female stereotypes instead embraces the Modern Girl as being multi-cultural, highly educated and independent in her actions and how she looks – confident and proud. Utilising traditional Korean knotting methods in her collection transforms a technique that is traditionally woman-made into a garment of empowerment.

During the process of combining Korean traditional ornament with modern streetwear, Photographing garments in development and using photoshop to manipulate them further into original and dynamic prints.

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Jin Lee’s collection is themed around a combination of coexistence and conflict condition within feminism. Inspired by Colette, a New York feminist artist in the 70s, Jin’s designs would follow a similar aesthetic, in which both were affected by a maximalist environment and contrasts between soft materials and outdoor chaos.

Being a woman in the 21st century is very different from what it was like thirty years ago. Nowadays, women are told to be independent, strong creatures and not just soft and nurturing. Jin’s graduate collection combines the two emotions, both delicate and vigorous.

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Jisu’s graduate collection was strongly inspired by the city she grew up in South Korea due to its many contrasting contradictions. Her hometown was both nature friendly and scientifically developed. Jisu picked up on these two juxtapositions and learnt how they coexist in one city. Combining both science and art from her hometown, Jisu used this to develop a flexible way of thinking when it came to her work.

Her influences continued to grow through how she began to express her thoughts and emotions through her surroundings and experiences in daily life. She turned her negative experience with depression into something positive by using it to inspire her graduate collection.

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Jiyeon Lee’s graduate collection inspiration came from washing machines. One button is pressed and everything is spinning and all twisted together. She felt that her identity was also tangled up within that. Following the wash, the clothes are hung out to dry, which is where her thoughts also straighten out.

This influence came about when Lee was in Tokyo, she saw an old woman carrying a laundry basket whose floral print outfit she fell in love with. She watched as the woman stopped to put her garments onto her drying rack.

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Jojo’s collection is highly inspired by the stretchiness and flexibility of knitwear itself. Creating a story of in the future, when facing danger, people put on different kinds of clothing to protect themselves. Each outfit is based on various “Protection” stories and referencing Chinese auntie and uncles’ style as well as Bauhaus Ballet.

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Joohye Emma Park’s manifesto talks about emancipation of women’s bodies that is especially based on feminism. However, it led her to question herself, ‘Am I truly a feminist or just someone who is following the trend?’

Today, feminism is regarded as an important issue at every corner of society. ‘The third wave of feminism is now, and it is intersectional.’ (Land, 2013) It contributed on her thinking about the authenticity, generating a question: why have I become a feminist. She thought back of her old school days to question whether she was an angry rebellious teenager.

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Over 40’s people are good at making their own style through basic items. Normally, their style is simple and neat with unique accessories or items, even their white hair can be used to represent by themselves naturally. They aren’t intend to be fashionable with fancy or gorgeous items because they already knew a specific point in minimalist fashion. I might feel ‘Mature Beauty’ through those fashion styles.

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Josefine Almasanu’s work often starts with a mood. Her work often tends tells a story of escapism, with a mood inspired from fantasy and nature. She is also heavily influenced by costume design and historic dress such as the Victorian and Romanic eras. Furthermore, Almasanu tries to explore current issues in her work to give it modern relevance. As an artist she wants her designs to reflect some of the ideals and debates from our time, while also keeping a sense of the past.

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Juliane used organic lines that part and come together, to represent celebrating the beauty of migration. This then led her towards a unique design approach which applies to both her fabric manipulations and creative cutting.

Despite the very topical and current nature of the concept, Juliane applied strict design rules to allow her to create timeless signature shapes and fabrics. The coherence between her fabric innovations and creative cuts creates a seamlessly recognisable signature style.

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Jung Hsuan Lin is a jewellery designer from Taiwan who loves travelling and exploring different cultures. Whenever she goes, she took inspiration from the curves of the architectures for her design. Lin also has a painting background since her childhood, and now she uses enamel as a media to explore colour in her fine jewellery collection. Lin did two year research for enamel jewellery in Central Saint Martins. Enamel is a material which has a rich historical background in Russia, France, China and Japan.

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Jung Hsuan Lin is a jewellery designer from Taiwan who loves travelling and exploring different cultures. Whenever she goes, she took inspiration from the curves of the architectures for her design. Lin also has a painting background since her childhood, and now she uses enamel as a media to explore colour in her fine jewellery collection. Lin did two year research for enamel jewellery in Central Saint Martins. Enamel is a material which has a rich historical background in Russia, France, China and Japan.

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Kelly’s work is informed by the experimentation and development of a variety of textural forms including knitwear; sculpted into wearable garments. Alongside these more experimental processes she uses Lectra pattern cutting software to complement and enhance the design process, in order to achieve a carefully considered shape.

Kelly was inspired by her surroundings in the summer of 2016 spent in a rural part of Connecticut. This land previously owned by native American tribes 100 years ago, is now used to continue the teaching of traditional dances to keep skills alive for generations to come.

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Kat’s debut BA Graduate collection, THE FLOWER BOYS CLUB centres on Britain’s most exclusive all boys’ boarding school, Eton College. With strong comparisons to modern cult societies and Etons educational institute opposite, Black Mountain College. This is an in-depth exploration of the hierarchical elite.

Kat’s entire collection draws on traditional tailoring shapes and silhouettes, whilst pushing the boundaries by challenging masculinity with a feminine twist. With growing graphic prints and 3D laser cut flower sequin embellishments, THE FLOWER BOYS CLUB epitomises the idea of the unattainable elite.

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Katie Holmes’ graduate collection concept started with British rebellion in fashion during the ’80s after a long period of rioting and rebellion in Britain. The Buffalo collective was made up of photographers, designers and artists. The disruptive and radical movement transformed the way that society absorbed fashion with a pioneering style, showing new masculine identities that became one of the most influential of the decade. The creative group included Ray Petri, Jamie Morgan and other members from a diverse range of backgrounds. The word Buffalo itself was a Caribbean expression adopted by Petri, used to describe rude boys and rebels.

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Throughout my collection, Saville Row cloth merchant Holland and Sherry has been very supportive, generously sponsoring and subsidising my fabrics whilst also assisting with sourcing.

The concept of this collection began with research on the capitalist system, as corporations gain increasing levels of political power questions surrounding economic and cultural shifts begin to be at the forefront of contemporary discussion.

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In the eyes of Kejia, architecture and fashion garments have always had a special relationship, as they both surround and protect the space of our physical body. In the beginning of her project, titled " Architectual skin", Kejia was inspired by Frank Gehry's architecture creations, especially the way she manipulates the shape of window, and the curve lines she utilises in some of her designs.

Kejia thought she could recreate these elements in fashion textile, as she sees fashion and architecture sharing the same purpose: to provide protection for our physical body.

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The collection Oblivion is complex and controversial. It takes its inspiration from a seductive, witchy diva and is dealing a lot with symbolism and spirituality.

The part of the labyrinth which can be seen in every outfit through the massive strips, embroidery and self-designed print is metaphoric to our personal thoughts and feelings, in which we can get lost. On the other hand is the witch a symbolism for our transcendental self and inner magical power. Supported with tarot cards included within the clothes.

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Kun Qian’s collection was heavily inspired by her memorable experience of her 5 year in London. She is constantly surrounded by traffic jams, pollution, people and overall overstimulation. Over this time she has become more and more appreciative of peace, quiet and nature. She feels happiest and most inspired when she is in one of the many public gardens, feeding swans. It makes her feel at ease and gives her a lot of gratification.

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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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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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