One of the fondest memories of Alegria Grifdal’s is her childhood in San Miguel de Allende, Mexico. This mystical city is affluent in copious branches of artisanal expressions, she often visited workshops and studios with her family. Falling in love since a young age with the process of creating handcrafted and unique pieces, Following a powerful calling, Alegria embarked on a journey to acquire prolific skills through acclaimed schools, mentors, and master crafters in Mexico, Spain, and Italy. 
‘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.
Tanja Novak’s collection was inspired by the First Wave of Feminism. While researching the Suffragette’s she came across images of the first female boxers from the Victorian era. These images would form the basis of the collection concept. The female boxers are dressed in corseted cutoff dresses or ruffled and loose pieces, completely impractical for any form of sport. Tanja explored different forms of combat sports, and sportswear, both from a historical and contemporary angle. 
“We are not machines” was created out of the urge to continue raising awareness for the exploitation of cheap workforce within textile factories in third world countries. What triggered this was the shocking discovery that not far from the Western world (in South-East Europe) in the homeland of Teodora, sweatshops are a sad reality. Meeting one of the biggest Macedonian activists for textile worker’s rights was both scandalizing and a very fruitful experience that fueled the collection. Playing on the title itself, the collection questions when one’s body starts becoming a machine, by juxtaposing functionality and restriction. Teodora decided to start with the obvious – sewing machines and apply the same construction and design elements to create clothing.
Terrence’s collection is a depository of his experiences that document these vulnerable, hilarious and most personal moments. It is a body of work that incorporates lighting design, digital art, sculpture, installation and performance. Each garment of this collection is both metaphorical and literal embodiment of himself. He draws from my own experiences and thoughts, and then these mental objects take shape and address both the self and spectator. Every element from his work, including colours, shapes, to the humour, invites people to connect with him.
Conversation in the language of cultures as a need for communication with the consumer. Heritage and culture have encouraging appeal, attractiveness in the era of fast fashion. 
Thomas Cox looked into how and why stereotypical homosexual men appear to be less intimidating and less of a physical threat to society but to the church and religion are considered a physical threat.
the theme of this series is Absurd: En attendant Godot, of which inspiration comes from the well-known absurdism drama Waiting for Godot. The Theatre of the Absurd is a post World War II designation for particular plays of absurdist fiction written by several primarily European playwrights in the late 1950s, as well as one for the style of theatre which has evolved from their work.
Timothee's influences are a mix of his own heritage, French and Algerian, and his interests, such as architecture, video games and his cats. His inspiration comes from the places he has lived in – his boyfriend's flat in New York City, and his parents place in the French countryside. Besides that, it is about objects and symbols bringing specific emotions, which he is bringing into his collection in different ways. he is using materials that portray the antagonism between traditional fabrics, reminding him of France, and contemporary fabrics, linked to the idea of New York. One of the fondest memories of Alegria Grifdal’s is her childhood in San Miguel de Allende, Mexico. This mystical city is affluent in copious branches of artisanal expressions, she often visited workshops and studios with her family. Falling in love since a young age with the process of creating handcrafted and unique pieces, Following a powerful calling, Alegria embarked on a journey to acquire prolific skills through acclaimed schools, mentors, and master crafters in Mexico, Spain, and Italy. 
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.
Angela Thouless over the past 20 years as an artist has been producing street art inspired paintings, wall murals etc. Tribe All began as an idea for a street art workshop painting and producing artwork on old spray cans which would have otherwise been thrown away. 
Tyesha Camacho aimed to try and keep her colection sustainable in order to not contribute to the effects of fast fashion. The majority of fabrics used are cotton based for this reason. She used digital printing as she felt she could convey her message better in this process. She also used elements of screen printing to partially replicate the texture of graffiti on walls.