DESIGN PROCESS

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LOTTIE EDGAR

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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LUCY SALTINSTALL

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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LYDIA FUNG SZE KI

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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MATILDA ABERG

Matilda Aberg’s collection was inspired by a story she came up with herself drawing inspiration from Swedish folk myth. It is a story of a lost princess in the dark Northern forests of the 17th Century and her encounters with the creatures of the forest - the femme fatals. From them she learns about sisterhood and revenge.

The inspiration of the collection comes from royal fashion with heavy velvets, the veils of the elves, the naked body of the mistress of the forest as well as her rotten back.

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MADDIE WILLIAMS

Maddie’s graduate collection was heavily inspired by the Wilder Mann documentary by Charles Freger. It is about how the transformation of man to beast is a central aspect of traditional pagan rituals that are centuries old, which celebrate the seasonal cycle, fertility, life and death.

Each year throughout Europe, from Scotland to Bulgaria, from Finland to Italy, from Portugal to Greece, Switzerland and Germany, people literally put themselves into the skin of the ‘savage’, in a masquerades that stretch back centuries.

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MEGAN ROSE

Megan Rose’s collection ‘obsessive|compulsive chaos’ is in aftermath from her most recent collection banepn valeri, where a new sense of understanding is found through the element of collecting. ‘Obsessive|compulsive chaos’ moves on from the formal elements of collecting- entertaining a more obsessive, compulsive chaotic association surrounding collecting with a strong focus on symbolising objects in place and being.

The collection really captures the impact of obsessive compulsive hoarding, developed from the initial inspiration of her Grandmother and her unusual range of collections on display within her home.

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MEGAN STRANGE

Megan wanted to present the idea of reflection, layers and silhouette through her collection.Through her design process she would refer back to her concept and colour boards to gain inspiration on how the layering of the images could develop into garments.

The silhouettes are inspired by the transparent flower photographs and how gentle yet impactful they were. The layering of the images inspired Megan to create the pleating throughout her collection, she wanted to use a range of pleating techniques to create depth and detail.

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MEIQI LUO

Inspired by a combination of both manmade and natural settings, such as buildings in the rain, Meiqi’s designs are unique and everything in life can be considered as an inspiration.

Strong characteristics and skilful techniques come together to create an artistic aesthetic, in which the quality and shaping of the metal she uses as a material is a priority in her collections. As well as considering the movement, tiny details are also important when it comes to the qualities of the stainless steel and laser-welder used to combine steel and metal together beautifully.

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MELANIE YAU

For many Third Culture Kids, the curiosity of one's ancestral heritage is a growing enigma. Embracing her Third Culture Kid status, Melanie Yau, a British-born Chinese fashion design graduate from the University of South Wales, had always been genuinely interested in her roots – places she visited as a child had an instantaneous familiarity yet at the same time sowed feelings of displacement. To get in touch with her family history, Melanie started watching Chinese period dramas from an early age.

Fashion and history had always shared a mutually beneficial kinship, where looking back helped fashion move forward. For Melanie’s first collection, this kinship was the core of her inspiration, “ The over exaggeration of Chinese period costumes mesmerised me. Traditional wear only ever went out of fashion due to the inconvenience of the clothes, and I wanted to reinvent that”.

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MENG ZHANG

Meng takes inspiration from Chinese calligraphy, architectural forms and curves and gestures of the human body. Curves constantly change and form unexpected lines; this tells you a lot about the wearer’s personality. The energy within movement shares the same philosophy and logic as Chinese calligraphy.

Meng connects intangible movement to tangible volume with every stroke. She combines modern elements of architecture shapes to further enhance her designs.

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MICHELLE LUNG

Michelle Lung’s collection draws upon the untouchability of digital culture we are undoubtedly surrounded by and arguably depend on everyday. Nowadays, it may be argued technology is one of our most valued possessions; if there was a fire, most people would reach for their smartphones and laptops before the contents of their jewellery box. The majority of people hold a mobile or are plugged into earphones closer to their body more than jewellery does. So are these now becoming arguably more personal, precious and considered artefacts to adorn the body than jewellery is?

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MICHELLE MCAULEY

Michelle researched over her families history over many generations and it became apparent to her that textile processes were passed from one generation to the next. For example, her mother taught her skills and processes from which her own mother passed onto her. These skills are iconic and in-stilled within our roots, something which I want to continue as these skills once pasted are at the risk of dying out.

Michelle aims to make the viewer really see beyond traditional textiles as dated, by refreshing traditional methods into modern and contemporary designs.

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MIETE FARRER

Miette Farrer’s graduate collection, created in collaboration with Katie Westwood, was inspired by craft processes and the reinvention of the familiar. Drawing inspiration from the mass produced shirt and jeans, innovative textile techniques were explored to recreate the shadows, creases and suggestion of these garments. With the focus on process, techniques were pushed to the limits in order to recreate entire fabrics.

The importance of slow fashion is reflected through the time consuming processes of hand painting, cutting, manipulating and stitching to create fabrics and garments.

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MONIKA JAUNEIKAITE

The collection 'Two Spirits' has been strongly influenced by the topic of gender.The main inspiration has risen from transgender Native American and XIX century cross-dressing women that strongly questioned gender norms in that age and had major impact redefining gender perspectives.

Inspiration came from various periods and cultural backgrounds such as American Natives, Two Spirit is a culturally distinct gender that describes Indigenous North Americans who fulfil one of many mixed gender roles found traditionally among many Native Americans.

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NADIA WIRE ALBRECHTSEN

The central aim of Color Intelligence is to highlight the importance of colour: How colour can guide and direct and tell its own language. A case study about lace and its patterns, formed the foundation for this collection: How women in the 18th century didn't knew how to read and therefore lace patterns was mapped out with a colour for each stitch. This aspect of using colours, as guidance is the main focus in Color Intelligence.

Michel Pastoureau's theory on colour and stripes founded the concept for this collection. Therefore this collection includes linear and irregular stripes from a naive and spontaneous point of view. The stripe is the core of this collection. Looking back at old naive childhood drawings lets the designer to investigate further in the subconscious mind.

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NIA WINSTANLEY

Inspired by living out of a suitcase whilst on Erasmus and her late father’s organised collection of memorabilia, Nia Winstanley’s collection reflects on how our increasingly nomadic lifestyles require new ways of containing our innate hoarding instinct. The contradiction between wanting to preserve throwaway items developed into the idea of ‘elevating trash’ using materials such as sequins and diamanté trims to create a collection which question the boundaries of ‘good’ taste.

Superficially, hoarding suggests a celebration of excess, but it can also be a physical and mental burden. It was these contradictions between the visual feast and emotional comfort that hoarding can provide and the question of control and restriction that really interested her.

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NINGYAO ZHANG

Ningyao Zhang combines traditional Chinese culture with modern fashion design to create her pieces. Having a strong interest in historic Chinese painting and calligraphy helped her create her graduate collection.

Before coming to London to study, Zhang was very interested in Chinese culture but found that it could be quite limited when it came to evolving her personal style and developing an understanding of fashion.

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ODELLA YUE

Odella Yue is originally from China, growing up in China and England was an interesting experience, she enjoyed her exploration in the two very different cultures, both of which have influenced her design style greatly.

Odella appreciates Chinese traditional culture as well as modern digital culture; her work is often inspired by her Chinese heritage and transformed into fashion designs with a modern digital twist. Growing up as a child, she was always the nerdy one and used comic books and games to dream and escape to a world of unfettered imagination.

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OLESYA SERCHENKO

My collection gets its inspiration from peasant’s life on the turn of the 19th century, just before the Russian Revolution. It was a hard and significant time in history, when old and new worlds collided. Dramatic changes occurred in peoples minds.

The main element of the whole collection is the fabric’s textures. It has a neoprene structure and golden embroidery’ 3D effect. This old decorative technique was my main inspiration. I wanted to recreate this with modern technologies, as I wanted to keep a noticable contrast between traditions and modernity. Indeed, this collection is not about changes, which usually only happen on the edge of an era, but about people’s minds.

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OLIVIA MAILEY

Olivia used her abstract photography as the key development when it came to designing her collection. By capturing the uncontrollable reactions triggered during physical and chemical changes she aimed to use her photography to spark a vivid colour palette, pairing pops of citrus tones with translucencies.

Initially inspired by David Mcleod’s 3D digital illustrations that represent movement and fluidity. The synthetic surfaces in Mcleod’s abstract compositions used in the IBM Outthink campaign illustrate the transition between different states of matter such as liquids, solids and gases.

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PALOMA ALARCON

Throughout the years it has become noticeable that culture tends to have an influence on the way individuals experience and perceive life. Paloma has always had a profound admiration for Peru, its culture and its people.

Being bought up in Lima, the capital of Peru, developed her interest and admiration of their architecture and textile manipulation. Their colourful layered houses and diverse historical locations such as Macchu Picchu and Chan Chan provide meaningful illustrations of ancient art.

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PENG YU WANG

Inspired by the way insects are constantly renovating and breaking their own inherent patterns in order to become brand new, vivacious and beautiful beings, Peng Yu focused on breaking original lifestyles when it came to creating his collection.

Moving on from this, Peng Yu began observing himself and how he immerses himself into the world, and more importantly, into a chaotic society. Through this he learnt who he wanted to be and how to achieve that goal.

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PLAIRE CHAIPHET

Thailand has been in control of a military government for quite some time and the long overdue general election has been repeatedly delayed; whilst the recent death and funeral of the beloved 9Th Thai king deeply affected all Thais it diverted attention from these issues and affected the whole country not just emotionally but also economically.

The collection honours the hard work the king had done to stop poverty and homeless but also highlights the issues which concern its people and uses the rich culture and heritage through the medium of a dystopian science fiction film.

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POPPY FULLER

Drawing on her initial theme of magic, she expanded to a more abstract approach as her work progressed. Focusing on elements such as transformation, distortion of reality and secret knowledge allowed her to express her research in a more individual way. Graduations in colour, obscured patterns and glitches all contribute to the illusive mood of her designs.

The concept behind her final outcomes were that they were talismanic fabrics, with specific protective elements woven into their design. It was important for her to capture the sense of mystery from her research while creating a collection that was still sophisticated and new.

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PRAVJOT SAMBHI

Classic beauty is no longer adored, imperfections and the bravery to show them are treated as a symbol of uniqueness and of a well-defined personality. The media portrays ideals telling us who, what and how we should be. Pravjot wanted to explore imperfection in our daily lives focusing on textures, colour and silhouettes. She turned this negative view and embraced it into something of beauty.

During the research stage of the concept, she had looked at model Winne Harlow, who has Vitiligo which is a skin pigmentation caused by lack of melanin pigment in the skin. The designer was enticed by Winnie Harlow’s beauty and how she embraced herself in society. Winne is now one of the most recognised faces on the international fashion scene and a vocal advocate of body confidence.

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QIWEI JIANG

In Qiwei's A/W 2018 Collection, Claude Cahun's work formed a major part of her inspiration. The key concept was developed from two main characteristics incorporated in Cahun's work.

Firstly, it is Cahun's photography, the way how she embraced different personas with distinct characters, using it as a tool to break through the traditional definition and barrier between the two genders, at the same time, blurring the line between masculinity and femininity.

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QIQI ZHANG

Qiqi Zhang graduated from the Fashion BA course from Kingston University in 2017. Zhang has been very passionate about introducing traditional cultural elements into contemporary pieces, elevating the traditional designs by injecting a dramatic element.

Zhang aims to break the boundaries of gender recognition, and at the same time, creating fashionable pieces focusing on practicality for everyday use.

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QI WU

Qi Wu found inspiration for her collection through quirky, chunky objects from all over the world and was captivated by Kintsugi, an ancient craft skill. On her travels, Qi would buy different items in a variety of countries and would use them to decorate her living spaces. She then decided that if these items can be used to decorate her house then why shouldn’t she use them to decorate herself and give them multiple purposes.

Qi Wu didn’t like the idea of old things becoming abandoned. The potential and fascinating aspects of certain items can be discarded so easily in the rapidly developing modern society that we live in.

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REBECCA HOLMES

Rebecca set the mood by incorporating her own experience and stories as part of an initial concept, such as foreign travel, for example the concept for her collection was inspired by a visit to the ‘Kunglia Slotten’ or Royal Palace in Stockholm, Sweden. The overly ornate and magnificent state rooms of the palace oozed luxe and excess; colour coordinated interiors in regal reds and greens and hanging with tapestries were edged in an overabundance of gold.

Her design process alway starts at the knitting machine; swatching inspired by research further into the mood set. She then bring swatches to a stand or photograph for collage and sketching.

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RHIANNON LEWIS

Stereotypical references have labelled the women of society with what is expected of a female. Rhiannon used this as her main tool for inspiration. The equality of the sexes and how gender ideals have been developed link feminine qualities such as body image and beauty to a feminine role.

Rhiannon wanted to use fashion to change this strongly controversial view within society and refigure the image of the feminine gender ideal. This would not only be determined on the history and culture but also the activities of new fashion trends. These show how feminism has evolved from the history of women’s rights to the influences of the male form and sportswear.

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ROSEY NORMAN

Rosey Norman’s collection was inspired by the rich, luscious textures and colours of traditional still life paintings. This contrasted with the comforting and traditional qualities of pub decor. By contrasting these two traditional and conservative aesthetics, the collection was created in the aim to be more contemporary; creating new from the old.

During the development of the collection the silhouette was drawn from sleepwear throughout history, returning to the initial concept of comfort, and also the silhouette emerged from the fabric techniques and the best way to maximise the rich textures.

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RUTH WILLIAMS

The collection explores the relationship with the clothes we wear and the sense of protection they give us. This originated from questioning the role clothing plays in everyday life. In the most basic sense, clothing protects us from the elements and keeps us warm and safe. But it also holds a strong emotional attachment.

Ruth plays with mixing functional clothing and objects such as sportswear and tents and the traditional art of knitting.

By taking inspiration from tents, sportswear and a beloved knitted jumper, the collection is designed to question our practical needs and explore the emotional attachment we have with our clothing.

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SHANNON LOUISE

Shannon Louise’s collection has captured the harsh reality of bullying, focusing on cyber bullying as it is growing with todays society on social media. Demonstrating that it is just as important as any other social and political discourse. She is wanting to change the globals perception of this accepted behaviour, which causes serious mental and physical health issues.

Taking the deconstructed, anti-fashion and activism inspiration from Vivienne Westwood, Katharine Hamnett and Martin Margiela she created an iconic sentimental showcase of art using fashion as the platform. she is also using her collection to fundraise for ‘Ditch the Label’, the largest anti-bullying organisation in the UK.

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SOHYEON PARK

Sohyeon's father became the subject of this collection. He was a prime example of life in Korea in the 1970´s. When people learn and gain knowledge from life experiences, they then pass it down on to their children. This is what Sohyeon wanted to represent through this collection, the fashion knowledge learnt from his father that now she wants to represent.

This is what Sohyeon wanted to represent through this collection, the fashion knowledge learnt from his father that now she wants to represent. As a result, an element stimulating people’s nostalgia affects sustainable fashion. Consequently the project provides the evidence based on zeitgeist theory.

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SARA CHYAN

Jewellery is an object that carries more than just an intrinsic significance, for it is not merely an ornament but also a medium for expressing one’s individuality.

In this project, Sara chose to use gallium and bismuth because she believes these two metallic materials possess symbolic attributes that can be employed to reflect the emotional state of the wearer. This is inspired by her obsession with heat, exploring the possibility of using temperature to assess one's emotional state.

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SARAH GARFIELD

The main theme of Sarah’s collection was revisiting her 13-year-old self, trying to be an Emo Goth Kid and rebelling from her Eastern European Jewish heritage. What sparked the idea for this concept was when she visited Israel, and learnt to appreciate her Jewish identity not through religion, but through the arts and culture.

It wasn’t just the late 90’s trend of visible underwear that inspired Sarah, but also the layering of sports bras under vests than many young women wear today, as they fit workouts with their busy lives.

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SHAMIMA MUSARRAT

Shamima’s collection ‘Conflicted Heritage’ focuses on the inner struggles that exist within all of us in various aspects of our lives, which shape us to be the individuals we are. This particular project explores her own conflicting thoughts and emotions that arise out of a need to construct an identity that considers all of the flavours of her different cultures.

Shamima is a British-born, Bangladeshi Muslim and very often the values of these different identities can clash with one another, meaning mixing together the aspects of each culture is perceived as a paradox.

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STEVE JIN

Steve Jin's capsule collection titled ‘Between Solidity and Fluidity’ is a work of self-reflection. In order to discover the persona behind the pieces, one needs only to look at the pieces themselves. Steve likes to describe himself as a clean person.

He likes to be tidy and organised yet he revels in small explosions of intricate details, a fine juxtaposition of structure and chaos. By adding an effeminate touch such as flower embroidery acting as decorative accents on a palette of periwinkle blues and blush pink, the collection alluded to the 70s era; and the whole of it, a coming together of the ‘free-spirit’ and the ‘neat freak’.

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TAEYOUNG PARK

‘Wear it the way you want’ is a collection that makes you rethink how clothes can be worn in different ways in our daily life. This graduate collection was inspired by Erwin Wurm, Austrian sculptural artist; his sculptural art works had helped me to develop my idea and visualise my idea to final works.

This collection investigates to ignore the original features of menswear garment and recreate original features of menswear garment. The collection investigates on sculptural art works of the imagination and creativity to redefine ways of wearing garment and its functionality.

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TRANG HOANG

Trang Hoang’s graduate collection ‘Colonialism’ started with an image of three Vietnamese female prisoners, entrapped by ladders over their heads. They were prisoners of the French, revolutionists under the French colonial rule in Vietnam during the late 19th - early 20th century. The ladder, which Trang envisioned as the symbol of the oppression of the Vietnamese under colonialism, became her main inspiration. She started to experiment with wooden structures to create ‘cages’ into clothes.

Her aim was to recreate the illusion of wooden ‘cages’ using wooden rods, which she either inserted into the garments with tubes or built a separated wooden structure to frame the garment away from the body.

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VALIA KAPELETZI

The initial inspiration behind Valia’s vision was the irregular beauty of the hammock, its construction, behaviour to movement and function. The interaction of movement with light and the human body are translated into dimensional installation pieces with playful colours and intriguing handcrafted details.

After vast experimentation with different materials and techniques, the final compositions consist of hand woven polyester yarns and other polyester materials which have been dyed with dye sublimation, while their core structure is the result of the wire that is woven together and incorporated as a backbone to the dimensional constructions.

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VINCENT LAPP

Vincent Lapp’s atheist vision of life settled the ground of his collection. The horror of Paris and Nice terrorist attacks always in his mind, he decided to dedicate his project to the development of political and social statement. His sister’s conversion to judaism triggered a deep interest in the conversion process and particularly in the religious symbols that have the power to attract individuals into faith. He fulfilled his focus by watching documentaries, movies, and especially the french movie Le Ciel Attendra which depicts how teenagers are lured to join jihadist movements through social media.

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WINNIE YEUNG

The concept of Winnie Yeung's final project is ‘Growing’. The initial inspiration comes from aerial photography of tulip fields in The Netherlands. Instead of using pen or acrylics to draw and paint, Winnie uses the knitting machine as her drawing tool, and the different kind of yarn as the medium.

Winnie loves experimenting with a range of knitting techniques and yarn combinations. Her first samples have become the visual and haptic inspiration for her next works. In addition, her research method is by observing the details of her samples and taking photographs to make further developments and improvements in the following iterations.

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XIAOQIAN SHAO

During Xiao Qian's studies in BA Fashion Design at the University for the Creative Arts, she became fascinated with the knitting wear industry. As one of the important sectors in the manufacturing industry, it's constantly evolving with new materials, styles of knitting and machines being introduced. Enraptured by the different types of knitting machines, ideas came flooding to her.

These structures, large in their size and their power, can be fatal. At the same time, these specific machines, overwhelming as they are, are able to produce fine and delicate material. the movements of the machine's intricacies and the synthesis of two discrepant materials, cold hard metal and soft malleable fibres became the inspiration to her collection.

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XIAOQING LIU

Xiaoqing Liu focused on the relationship between solid and liquid. The texture, structure and colours of the opposite materials reflect a variety of moods, which is what Liu based her collection on.

Liu was inspired by these diverse matters in the world as they exist in every aspect of our day to day lives. In order to understand what they demonstrate to each individual it was important to explore their materiality.

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XIAO ZHU CHEN

Dubbed “Little Prince” (after the famed fable of childhood innocence suitable for all ages with its underlying philosophical treatise) there is no better name for Xiao Zhu’s first collection, which probes into the fragile friction between adulthood and childhood perception.

Through the view of both lenses, her designs take inspiration from kid’s drawings and childhood toys reinvented for adult appropriate dress. Bright, vivid colours were selected as backdrops to playful prints, building block inspired shapes and childlike scribbles. LEGO pieces were used to create whimsical accessories such as sunglasses, handbags and hats whilst some pieces were simultaneously applied as embellishments.

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YANA ISTOMINA

Inspired by the visual aspect of physical changes that occur with time, Yana’s collection focus on wrinkles and the body’s shape. Her work is based on her personal feelings provoked by the ageing process of her own skin and the anticipation of its future changes.

According to Yana’s research there are two main opinions formed by social norms as well as personal feelings. One of them is positive: age is viewed as something to be proud of, as a testimony of valuable experiences and the visible part of our personality.

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YE-BYEOL SIM

To provoke individual’s narratives, pareidolia phenomenon is used as an inspiration for ‘What or Who’ collection. This ubiquitous psychological illusion is especially pronounced when you see face-like objects and is translated as an individual story by the reminiscences, facial expression or signification. In the design process, Sim focused on transformation of the shape balancing between obviosity(the features of a face) and ambiguity(little scope for the imagination) so as to enhance wearers’ involvement.

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YEHUA FAN

Yehua took primary inspiration from three elements: Rococo, Mari Antoinette and Crinoline. His collection mainly consists of oversized black suits, ruffled see-through blouses and white crinolines. Most importantly, he considers crinoline to be crucial in his collection for its resemblance with a birdcage, a symbol of limitation on absolute freedom. His collection had a focal point: the total self-liberation from negative feelings or opinions that people had on him, and the need to be sociable in order to blend in with the rest of the society. At first, the disrespectful attitudes received from many others had made Yehua feel slightly uneasy, and maybe even marginally upsetting.

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YIHONG LYU

I was particularly inspired by old or antique paintings and murals-the postures of individuals are a bit naive compared to realistic paintings but that is where it attracts me.

As a human being born with curiosity we often wonder about everything around us. I always love looking up to the sky and star-gazing since I was young, for me, astronomy is the exploration to the universe, the universe is actually everything that exists.The dark sky always leaves us with endless curiosity, imagination and expectation.

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YINGI GOMA

Waterside boy AW18- The collection draws inspiration from a street hawker who carries all kinds of goods on his body, convincing car riders to buy from him. The collection captures her environment and lifestyle.

There is an interesting use of text, proportions, shapes and fabrication. There is a mix of unusual garment fabrics such as tech net fabric, plastic fabric and hessian. Cotton, linen and woven fabrics are used to represent both the hardship and casual appearance of Waterside boy.

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YU CHING SHEN

“LOVE” a topic that has been heatedly dissected and debated and has become a never-ending source of enquiry, a subjective emotion that has been time again in pop-culture, sociology, psychology… As Plato and Socrates saw it, love was a mental disease, echoed by Haddaway’s infamously catchy song, ‘What is Love? Baby don’t hurt me’.

Yu Ching Shen, a Taiwanese designer, also reflects these realistic sentiments. During her studies at Kingston University for her Fashion MA course, she focussed heavily on textiles research, namely the concept of communicating emotions through textiles. Choosing the emotive ‘love’, Yu-Ching uses different textiles to exemplify her definition of what love is.

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YUE CUI

"Have you really felt a natural world, a world which is full of various types of wildlife? I can only say that I have seen a small part of it, some of the last parts left behind in the process of urbanization. They are to me, unforgettable.”

Yue Cui’s collection Animated Companion takes visual inspiration from the active postures of animals. The first idea came up when she saw the vivid posture of preserved animals in the museum which evokes the good memories of her childhood in a countryside. In order to feel that vitality again, she went to different parks and zoos in London to observe the behaviour of some familiar animals. In the meantime, she sketched some postures of them when they were in motion.

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ZEXI YU

Zexi Yu is redefining menswear. Her graduate collection, ‘Dandy In His Garden’, received a magical makeover via dazzling designs embroidered with flowers. Inspired by tailoring and corsetry history, each piece translates an approachable feel.

Yu enhanced her garments through complex lining and shoulder pad silhouettes. This allowed her to create innovative designs that were further heightened through skilful tailoring.

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ZHAOSHEN WANG

Zhaoshen Wang, is a Chinese jewellery designer, who designs in an open society. The tolerance allows Wang to link cultures and create a mixed design language in his MA collection.

Wang started with the observation and research into the frequent social events around identities that are a characteristic of contemporary European cultures. Events like gay pride, national naked ride, festivals, marches, and gatherings.

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