The starting point for Abigail’s graduate collection was The Florida Project Film. It gives an insight into an American Childhood with resiliency and freedom through being yourself.
The imagery informed the collection’s mood and colour story. The film led to research into American suburban life including 1970s suburbia and 1930s depression era. Stephen Shore’s imagery from a road trip in 1970s America was a key piece of inspiration.
Designer, Dayun Lee’s, creativity comes from her interests. Before starting the concept, she usually researches art movements and historical visuals of the women at the beginning. These could be from the book, movie or art. She found that women in the past and present give her interesting point of views as a womenswear designer.
For example, 1930s representation of female bodies was interesting topic that she wanted to observe. She loves how it depicts in various ways.
The SS/19 collection is inspired by Body Modification, body modification transcends any cultural boundaries. During the process of my design development I Looked at both the primitive and modern primitive practises in a contemporary society were consumer culture uses the Body as a representation as well as a display of a source of identity.
“Bodies are sites of representation, are not only physical but communicative” (Atkinson, 1971)
Alexandra Afanasyeva’s graduate men’s jewellery collection is dedicated to polar expeditions. Conceptually the collection evokes the spirit of exploration which is closely linked to such notions as identity and rite of passage.
Climbing gear, survival equipment and various tools including ones from Inuit tribes and those dating back to the Ice Age are the main basis for the collection.
@KNITWEARBYALEXANDRA worked in collaboration with embroiderer Amelia Skarpellis to create a new generation of punk. Together, they wanted to celebrate advancements within the textile industry and create a collection that appreciates the scope of possibilities that fun and vibrant textiles brings to today’s fashion industry. Their aim: to develop a new wave of punk – just as rebellious, embracing colour and unmasking societies playful side.
Bacha posh means ”dressed as boy” in dari. In Afghan culture, boys are considered to be worth more than girls. If there are only daughters in a family, the parents can choose one of them and make her into a bacha posh. A bacha posh is a make-believe son, a girl that for a period of time takes on the role as a boy in the family."
Bacha posh is not only about girls being dressed as boys – it is about women’s situation in Afghanistan. I grew up with my grandmother, and I have seen what it looks like. Dressed as a boy, the girl has more freedom. The clothes thus become a vehicle to expanded freedom.
Alice Callum’s graduate collection, ‘BLOSSOM AFTER MIDNIGHT’, explores the concept of how the body can become an artistic medium through the essence of performance both on stage and in the street. For years the body has been used as a medium to translate the essence of art through performance. Focusing primarily on 20th century performance, she explored a variety of performances from the Ballet Russes and the works of Leon Bakst to Marchesa Casati to late 20th Century performers such as Leigh Bowery, Bowie, Lindsay Kemp and the rise of club and drag cultures.
Alice’s collection was inspired by historical sportswear silhouettes from her dad’s personal Olympic magazine collection. From these she established large billowing shapes in contrast to tight restrictive bodies, this became the foundation silhouette throughout each of her designs.
Alice enhanced this silhouette through 3D development, using personal swimsuits ranging from different periods in her competitive swimming background.
Alice Pons’ graduate collection, ‘NEVERLAND’, was inspired by a long lost picture, found hidden amongst childhood belongings. A five-year-old Alice, wearing her father’s black suit, beams unknowingly into the camera whilst unconsciously playing with the lapels of the jacket.
The photo communicates the innocence of youth, and the pure joy that can be derived from wearing a garment when unburdened from the self-consciousness of the adult world. This snapshot of youthful naivety has inspired this collection, which looks to recreate the blissful ignorance of a child unaware of the meaning of fashion.
Focusing on the body and movement, particularly within dance was a major influence when it came to Alvin Lam’s first collection. By looking into the history of dance and seeing how it has progressed through the ages allowed him to understand how the art is connected to romance and sensuality.
After interviewing dancers Alvin learnt how important the waist and the legs are, predominantly within ballet. Focusing on the muscles in these two areas allowed him to create designs that enhance the beauty of these.
Amber May’s graduate collection was inspired by bodily kinaesthetic intelligence. The ability to construct physical objects which evolve through the repetitive hand movement fascinated her. Led by the creativity of ‘Hands’, she explored physical evidence of this whilst travelling in Bangkok, Thailand. Captivated by architectural patterns and hand crafted applique tiled surfaces, it was an immediate source of inspiration for the collection.
Merging fashion and illustration, Amy’s collection tells a narrative through surface pattern elements that can be interpreted and told in multiple different ways dependent on the interpreter. Responding to this by using a personal illustrative style to create stories within the garments based upon a primary research project creating a narrative based upon views of beauty; questioning what beauty can be defined as and how stereo types can effect perceptions in society, challenging and encouraging difference.
Anne Marie K’s collection revolves around a journey down the Nile taken by a woman in the 1940’s. As she travels through an almost ”Timeless” Egypt. Each statement piece tells a story. The colours used in the garments are derived from the scenery in Egypt; a lot of blues, greens, and beiges and mustardy oranges.
The materials used encompass Egyptian ”dying art”, including Tulle bel Telli, Tent-making, glass-blowing, Sadaf Jewelry boxes technique, fishing nets, and more. Anne Marie K chose to use these particular methods to help the women’s position in the Egyptian society and break extremist social norms.
Having spent her time in the halls of London’s elite fashion schools and surrounding herself with industry peers, Annie began to notice a stark similarity. Black has circulated saliently, a modest staple in wardrobes and central piece to many designers’ collections. She poses the question, how many black items do you have in your wardrobe?
Her research then started off with two simple queries: What is black? Why do people love wearing black?
The eye often plays tricks on us. We usually see what we want to see – our brains way of filtering out all the tiny nuances that would otherwise be too overwhelming. Anson Lau, a Textile Design graduate from Central Saint Martins focuses on these preconceptions and more often than not misconceptions. Taking some wise words from the wise philosopher Aristotle to heart, “our senses can be trusted but they can be easily fooled”, her collection focuses on the disparity between what we see and what actually is.
Atelier Jen focuses on creating bespoke statement pieces that are colourful, decorative and highly detailed. Made from layers of durable paper, securely glued together, then decorated with gold and silver leaf overlayed with an array of pattern and colour. When finished they are coated in waterproof varnish.
The fundamental step is choosing the background papers, hand painted textures with gold, silver or copper leaf designs are prepared meticulously. The paper and template are then merged by cutting and gluing together layers of paper to achieve the required thickness.
Beichen Guan’s collection is inspired by the star pattern emoji that people easily can understand, transformed into teeth whitening products and tools. The collection is a entertaining way to show people just like her, who try so hard to whiten their teeth because of aesthetic pressures from society.
The human tooth has evolved since the ancient age. Dental development in the modern world is a milestone that every person has to undergo in child development. But in the contemporary consumer culture, dental treatment has always been “cosmetic”, concerned with aesthetics as much as function.
Ben Stephen Ford’s graduate collection is inspired by the concept of wanting to ‘fix it’ or ‘put it right’, playing with the impulse of those who can’t stop that internal need for perfection.
The idea can be best described as a crooked hanging frame, some would see the fault from a distance away, however some may just walk past it. It is those who have to fix the problem who are the ones that are being captured in the collection.
Colour and labour intensive textile techniques are the key aspects of Bethan's creations, as well as personal and meaningful narratives. She designs for a woman who is feminine, fearless and with a sense of humour.
Drawing on her interests in retro aesthetics and interiors, Bethan’s final collection, “NUKE KID ON THE BLOCK”, began with a hunt to find 1970s bathrooms full of vibrant colour and intricate textures. Her own Grandma’s bubble-gum pink en-suite proved one of the most intriguing, with it’s floral tiles and bulb shaped taps, that later went on to inform silhouette and print.
Meaningful movement, Natural habits, And Intuitive behaviour. Derived from the German term, meaning a longing to travel to a place where you feel at home, Bethany’s debut Graduate collection ‘Heimweh’ looks at traditional nomadic qualities in a contrast to a modern society.
Exploring the time-honoured lifestyle, the pulls of life and a new evolution of nomads, driving the urge to re-nature and trust our instinct in, the tech driven world of today. As part of the nomadic art movement, Joseph Beuys aids Bethany’s research in understanding the connection of the nomad and the natural world.
The utilitarian function of clothing is to house the human body, a body that is always in constant motion. Bo Yang Jiang's collection is an interpretation of this relationship. She dissects the prime functions of what clothing does, on one hand it satisfies the practical demands and on the other, its a manifestation of character.
For her MA Fashion graduate collection at Kingston University, BoYang turned to contemporary dance for inspiration. She looked into female contemporary dancers and choreographers such as Silvia Gribaudi, who is know for her work in body politics through dance.
“When your world is collapsing, when everything is closing in, what you want is to be somewhere else, somewhere you can breathe in peace, a scrap of beauty, far from the noise and ugliness but, if there is no escape then you go there in your dreams and you paint that landscape into existence.”
Bryan Wan’s collection was aiming to express the concept through his pattern cutting and designing processes, inspired by his initial inspiration which is trying to translate the elegant and simple lines and the shapes and spaces of traditional Chinese hand made Ming furnitures and ceramics.
Although Caroline Perino’s collection is clearly inspired by art and painting, firstly it found inspiration in the kinetic sculpture field and the movement of machines. The process started by researching pictures that brought inspiration to the designer, and by doing so she realised most of the pictures were sculptures with complex forms or paintings with many elements and objects spread on the canvas. Some of her inspirations included art work made by Alexander Calder, Miró, Picasso and Kandinsky.
Looking into history, Japanese and Indian culture, Cleo finds new ways to create drapes, to play with pattern constructions, proportions and colours.
For her first collection “Cibachromes”, the designer was inspired by a few still life photographs by the American photographer Sally Mann. 'Cibachromes' refers to the manual photo-printing technique in which colours overlap. Bright, pure and expressive, the key words of the sustainable fashion label Cleo De Laet.
The AW18 debut collection HUMAN MECHANOIDS has been inspired by Swiss surrealist painter HR Giger and his idea of the biome- chanoid and explores the physical relationship between digital technology and the human body. The partially controversially perceived imagery created by the artists’ depiction of reality at the time suggests that we are inevitably transformed into a kind of human machinery. Placing his idea into modern context leads to the idea of viewing social media as an extension of ourselves due to constant engagement.
Chaerin Lee fuses the silhouettes of 1980's sportswear, the expressionism of renowned artist Jackson Pollock and the vibrant colours of Leigh Bowery's make-up and costumes. With these inspirations at the forefront of Chaerin's mind, she set out to create a collection that could have a positive impact on human emotion using Colour Theory.
Knowing that people in busy modern societies often suffer from fatigue, Chaerin Lee developed energetic prints and patterns inspired by the expressive movement seen in the work of American artist Jackson Pollock. She tested these colourful yet subtle prints on different fabrics, familiarising herself with the nuances in the results.
Charlotte’s collection California Dreamin was inspired by the beautifully accessible Salvation Mountain which is based in California where people from all around the world go to worship anything and everything they wish to. Charlotte created this collection using her own strong handdrawn prints with cultured silhouettes. She also gained a massive LOVE for embroidery design inspired by converting everyone to see the world in the way others do.
Charlotte Emma Thompson’s collection portrays a feminine, dreamy atmospheric portfolio that shows the story of her collection, the individual inspiration and design process for each piece.
The concept of her graduate jewellery collection ‘Babygirl’ is a celebration of the strength in sisterhood. In a current world of strong male politics culture her project embodies femininity and girlhood with strength. The main inspiration/concept came purely from icons such as Chloe Sevigny, Tavi Gevinson and Solange. Along with Sofia Coppola’s film: The Virgin Suicides and Deniz Gamze Ergüven’s film: Mustang.
Christina’s research topic is concerned with sexual dependency and interdependency between individuals. Many people in big cities like London have the desire to be independent, but at the same time a craving for the intensity that comes from interdependency. The tension this creates seems to be a universal problem. (Nan Goldin)
In order to get visual inspiration she collaborated with Jelly Luise, another CSM student to create a mood film that would support her final collection in terms of colour, shape and structure. Christina provided image-heavy research that was rooted in Nan Goldin’s ‘Ballad of Sexual Dependency’, Schiele drawings and many others.
Claire Tagg uses detailed print work in an illustrative style based on narrative to design her pieces. Her inspiration derives from travel and photography but mainly from her previous occupation as an air stewardess.
Claire created remarkable illustrations by drawing in a mixed media style in different scales to create motifs. She would then use Photoshop to allow her to digitally print onto her garments through a mixture of digital and screen printing.
Constanca Entrudo’s graduate collection is inspired by the whole idea of performance, circus and transgression. By embracing chaos during the creative process she aimed to generate fabrics that would challenge the usual processes of print making through the use of techniques such as dyeing, bondawebbing, melting different materials, pleating, folding and embossing.
In the first phase of her research she looked at Circus archives, London based performers and visited various vintage costume shops all over the UK in order to learn more about the materials and fittings that have been used in theatres and burlesque performances.
Daoyuan Ding’s collection was initiated by the study of the artist Alicja Kwade’s artworks and influencing surrealist artworks. Also based on the philosophy, Object Oriented Ontology, Ding started to see objects by different statuses.
For example, a wooden stool can be seen as a tree which would be the raw material of the stool in the future and the wooden pieces which was the work in progress when manufacturing the wooden stool.
Desree Akorahson conducted her primary research by visiting Kew Gardens and drawing and collection information about the rarity of the flowers. She wanted to create a hand rendered, botanical look about her prints, which is why she chose to draw her prints by hand using fine liners and using Photoshop to add in the colours. By using this technique, she was able to enhance the brightness in all of the colours chosen.
Desree was inspired by artists such as Bridget Riley and William Morris when it came to creating her prints. She combined these two styles and added in some influences from 60s fashion.
Attention at the core to these craft techniques gives a sense of childlike play through tactile experimentation and draws consumers into a rich and unique tangible experience with the brand.
The attention to craft processes is complemented throughout the collection by the use of modern digital techniques, including laser cutting and computer embroidery, allowing for more experimental and unique results.
Eden Keshia’s graduate collection is inspired by the curiously beautiful artworks created during early infancy. The erratic brush-strokes and experimental nature of the paintings and scribbles prove to be an interesting starting point for colourful prints and hand-painted designs.
Always adorned with hand-rendered intricacies, designs feature hand-painted details, bespoke embroidery and tactile embellishments, intended to appeal to all senses. The ethos of this collection embraces the concept of a slower-paced fashion; the design process focuses on creating high-quality wearable art pieces which can be kept and treasured.
With a narrative that stems from the journey of Indonesian batik to the heart of its modern society, Charmain's jewellery collection explores the evolution of Indonesian batik through history in terms of technique, pattern, production and consumption.
He gives a new life into the thousand years tradition by transforming what once a two-dimensional waxing technique on top of fabric into a three-dimensional jewellery object, emphasising on the sustainability and survivability aspect of Indonesia handcrafted batik in this machine production era.
A starting point for Elena’s collection was a film “The Colour of Pomegranates” as cinematography takes a big part in her research and design developmentt. One of the key points of both of her concept and designs started after reading a book by Hamid Naficy “An Accented Cinema”. Elena’s thinking process and the narrative of the project has been influenced by numerous personal feelings such as memory, nostalgia, family and relationships between people.
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.
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.
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.
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.
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.
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.Each piece of work is handmade, allowing them to be completely unique.
Fields of Gold artisanal shoes are born out of passion for travel. Turning local authentic handcrafts into fashion masterpieces. Fields of Gold represents unique eastern motives, combining tradition and innovation. Each pair are completely unique, with over 30 hours of hand embroidery followed by strict quality control.
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.
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.
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.
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’.
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.
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.
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.
Having always been inspired by ancient stories within Chinese history, Han used this passion and tailored it to fashion. By bringing the past into the present she was able to embody both Chinese heritage and craft innovation, which allowed her garments to transform and seamlessly blend ancient culture into the now.
For her final collection, Han Zhu used traditional embroidery fabric and waterproof materials mixed with leather. Han believed she had a responsibility to her Chinese heritage. She did not want to see traditional elements disappear, which is why she chose to develop them in a more modern way.