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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.

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A by Anubha’s foundation is the traditional Indian Bandh-Gala or the Mandarin Collar, also known as the Nehru Jacket after India’s first prime minister Jawaharlal Nehru who popularized the look. The label consistently brings innovative and modern tweaks to this traditionally masculine style, for both its male and female collection lines. It combines the classic details of the Nehru jacket – the mandarin collar, pocket flaps, and fabric buttons – with sharp cuts and bold colours to deliver a clothing line perfect for casual, semi-formal, and professional settings anywhere in the world.

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Alejandra Herrera’s collection is heavily research focused in order to develop a six outfit collection that narrates a story of her mixed cultural identity, celebrates her Colombian heritage and fully expresses a loss of innocence due to drug and political corruption. With a mixture of touch points including: The wedding dress, undergarments, corsetry, the crinoline, petticoats, Medellin's festival dress and the Colombian drug corruption, Herrera’s collection displays juxtaposition of beauty and corruption.

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The theme of this collection is representing events during one of the most important occasion happened during XX century which is Cold War. “Cold War” is a well-established phrase, denoting a period of tension between the USSR and the USA in the second half of the 20th century, against the backdrop of the nuclear arms race and the promises of Nikita Khrushchev “to bury you” and “show Kuzkin mother”. The period of the Cold War lasted from 1946 to 1989 with varying degrees of frenzy and completely sunk into oblivion in 1990-1991, with the uni cation of Germany and the collapse of the Soviet Union into small pieces.

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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.

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Adela Babinská’s collection was inspired by the physical impossibility of her two desires- to stay at home and to study fashion design. Ever since she moved away from her family in Slovakia to the UK, she has wished she could live at two places at the same time. She would love nothing more than to experience bilocation - the state when a person is simultaneously in two places at once.

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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)

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@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.

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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.

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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.

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Alice Elizabeth Clarke's Graduate collection aims to challenge perceptions of female sexuality and stereotypical femininity. Her designs are informed by her intellectual research into female artists/writers such as Charlotte Perkins Gilman and Ellen Von Unwerth, transferring political views into fully stylised looks aiming to free women from the sexual boundaries created by society. After reading about Perkins Gilman and other feminist writers discontent with marriage, Clarke was inspired by romantic Edwardian wedding portraits. 

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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.

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Alice Oliver's collection was heavily inspired by Glyndebourne Opera house in the 1930s, she has spent many summers working there so it is a concept which is very close to her heart. Images of men in sport suits and women in elegant slip dresses provoked an exciting story of romance, nostalgia and sophistication. The collection celebrates the performing arts and the story of going to the opera in the middle of the british countryside.

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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.

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The collection Dans Les Bras de Morphée was inspired by two of her passions: Greek Mythology and Philosophy/Psychology. Her artistic inspirations varied from Surrealists and Jean Arp to Julia Crabtree, from Ernesto Neto to Ancient Greek statues and classical Renaissance statues.

Through the research of the unconscious mind and how it relates to the ancient myths that have forged Western society, she was able to create her story of four goddesses in our present world: Aphrodite, Artemis, Hebe and Persephone. Each of them representing a part her my own and our collective psyche, these strong female entities were both Powerful and Protected, ready to face our contemporary society and its challenges.

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Amber Kim’s collection is inspired by her attraction to fun, exciting and carefree experience. However, her personal experience of music festivals demonstrated the negative impact on the environment that the entertainment and creative process can cause.

She has used sustainable thinking, skills, and creativity to address the environmental issues that harm the ecosystem. Her sustainable approach was applied throughout the whole process. Every stage of the process should be resourceful, responsible and retractable.

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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.

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Anna Lowe’s collection was inspired heavily by female fighters and protectors from the past and present, whilst including family references. During the summer she visited the Women’s library, Museum of London and the Imperial War Museum for initial research, and went through family photos. Structured uniforms, pleated skirts, draping and volume were all key links she found between her various points of research. This inspired Lowe to create a womenswear collection exploring tailoring and draping to create empowering garments.

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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.

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Ayida Solé’s collection was inspired by the female form. The collection, entitled Black Body, uses the astrophysics term “Black Body” as a metric for color and the societal understanding of the term to create staple pieces for all women.

Having moved to Paris for her final year of studies, Ayida Solé felt compelled to understand the experience of Black women in Paris who came before her.

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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.

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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.

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The 1920s Flappers were heavily featured in ‘The Great Gatsby’ and were important in deciding the silhouette and fabrics. The 1920s Gangsters gave the structure needed to the soft and flowing silhouette of the Flappers. The staple item worn by this subculture was a tailored jacket/suit, this was manipulated to create some interesting shapes. The lapel of a jacket became a key design feature. The jacket lapel was changed in size and position on the garment, in response to imagery from the Ocean Liner exhibition.

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Walking the streets of India, viewing an extraordinary range of Temples and Mosques, featuring delicate pastel shades and inspiring pigmented blocks of colour. Pure cotton displaying a range of extravagant hand-dyed fabrics, layered by screen-printed patterns inspired by India’s most amazing landmarks. The luxurious, yet wild silhouettes may be spotted en-route to Lakme Fashion Week.

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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.

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Camelia Nema’s first collection is about the reflection of women’s lives and how they choose to present themselves to the world. Based on the ideas, feelings and attitudes of the females in various walks of life these garments portray the common trait of class that women have when focusing their feminine energy accordingly.

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Camila Fukumothi’s collection was inspired by simple paper boxes and layouts creating an innovative approach exploring sharp shapes and inorganic images with geometric architectural details.

Through the process of creation and design development, the manipulating of boxes layouts gave a variety of different forms to be analyzed and investigated.

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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.

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Cat O’Brien’s graduate collection; Cat’s Coven has come from a culmination of personal interests and concerns regarding women and power, combined with the whimsical twist in a love of all things Halloween. What began as a more serious observation of the emergence of Mesmerism, Spiritualism, and Science in 19th Century Britain, and the links to Witches and women in particular, the mood of the collection plays on a lot of the tropes associated with Witches and promiscuity, creating an overall aesthetic from the parody that is both dark and Campy at once.

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Founded in December 2018 by two sisters, Caylandrea and Kyra, CAYRA is a premium fashion label aimed at creating contemporary and statement pieces that encourage a strong self-identity.

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Chloe Nezianya’s collection was heavily inspired by historical and mythological imagery and representations of Amazonian goddesses. Chloe drew comparisons between the big statuesque women depicted in the imagery to the plus-size women that she aimed to dress. The statues boasted soft drapes and fluid movement, with fabrics loosely hanging over the body. These garments inspired Chloe to find more deliberate ways to use drape in her work.

In an effort to combine luxury with comfort and ease, Chloe found that the properties of powermesh were the most effective to use as both the base of a garment and to use as a drape. The fabric has the most forgiving stretch and ease which gives the person wearing it more confidence in their movement. Using mesh was also the perfect fabric to make considered drapes and ruching inspired by her research.

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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.

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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.

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With the hand skills that were once the foundation of many industries now being lost to technological advances and changes in society and lifestyles, Celine’s collection is an exploration of how classical and contemporary can not only complement, but enhance one another. Music has always been a passion in her life with a large part of that being rooted in the classical field. However, with the current surge of hip hop, pop and rap culture as the new ‘trend’, we are rapidly straying further from music’s classical roots and the true craftsmanship involved in its creation.

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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.

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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.

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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.

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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.

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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.

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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.

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”OUT OF SENSES“ is a collection for Dazzle Zexian LIU to express the imperfect beauty of life. There are so many meaningless combinations in our daily life, there is no order, no theory between, but they are natural, they weren’t born that way, they also change naturally over time. And she thinks this is the beauty of life.

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I consider myself to be a visionary designer because I do experience a visual flash of designs. I immediately sketch my ideas with having the fabric content and colours in mind.

As a designer, I like to pair hard and soft fabrics together because opposites do attract and together it becomes one making a beautiful display in style. The next stage is working directly with the pattern maker to ensure that he understands my vision and that the craftsmanship is spot on.

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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.

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Originating after always finding myself in a void between fashion and art, I wanted to express myself through the creation of experimental pieces unhampered by categorization of either field. I achieved this by mixing artists materials such as the artists' stretcher, canvas and linen materials with creative pattern cutting and tailoring to producing wearable canvas frames which can equally be hung from the wall like a traditional artwork.

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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.

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Debonaire originated from my father’s love for sailing. When looking through old family photos I stumble across numerous imageries from his childhood learning to sail with his siblings, draped sails and with his crew back in the ’90s. Each photograph carried a different sentimental and nostalgic value that I wanted to translate into my designs. For example different boat knot techniques, heavy fabrics, exposed seams and large metal component details. I chose to incorporate these elements within the collection in order to present nostalgia, and memory through familiar items e.g. lifejackets and stripe. This collection carries elegance in shape but also childish references with colour and component.

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Elisa strongly believes in the idea of using her own body to make a statement about her inner self: she wants for the garments to be an extension of the soul, like a direct line to the mind. Layers over layers of skins: stratification is definitively a key world of the collection. This concept represents the very starting point of her collections. She plays with her image to visually represents the idea that she wants to promote and this is the way in which Dreaming Eli was born.

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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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Emily’s graduate collection started as a response to current news surrounding the uncertainty Brexit has left within the UK.“When designing a collection, I try to be responsive to what is happening around me, to the people next to me, to keep in mind that fashion needs to interact with current affairs and be an answer to what is happening.”

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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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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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Genieve Vasconcelos is a sustainable fashion designer of special, bespoke objects of desire, for people with taste and style.

"My concept initially started by attended an event called ‘Africa in Dancehall’ this led to me looking at the connection between slavery & church in dancehall, then I explored subculture, understanding it, as a place where people can live out shared identities or shared realities. To examine this idea deeper and give me a framework, I researched the history & evolution of Hip Hop, when I pooled all my research together, Graffiti was the visual representation of my findings = Energy, Sound & Movement. Graffiti became the source of inspiration for shapes, texture and colour."

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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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