Representing the creative future

CSM BA 2025: Cautious optimism

While some graduates sought solace in the past, others projected themselves into imagined futures.

Another June, another generation of designers enters the fashion system. 40 graduates step into the industry’s uncertain terrain with the sum of their past three years stitched into fabric (or straw, screens, leaking hats and balloons; it’s CSM, after all). The BA show marks both a closing chapter for students and a first step into an often ruthless professional world. Many returned to their childhoods as a way of anchoring themselves, artistically and emotionally. The runway became a kind of therapeutic terrain.

 

Phoebe Bor, a Fashion Design Knitwear graduate, turned to the bushland of her South African childhood. Through earthy palettes and plant-like silhouettes, she reconstructed the landscape that shaped her early years. Similarly, Rose Seekings looked to the British seaside for comfort. Her work, informed by 1950s and 60s swimwear, presented a crisp, melancholic homage to summers long gone. Timisola Shasanya worked through dual landscapes: London and Lagos. Her garments oscillated between cultural markers, transforming place into touch and memory into material.

Ayham Hassan Musleh told the story of growing up under occupation in Palestine. Sponsor L’Oreal awarded Musleh the second runner-up prize, as protesters outside the building could be heard calling for an end to the school’s relationship with the brand due to its ties with Israel. In his collection, the graduate spoke of the tension between the fashion system and the humanitarian crisis, through what he called “the narrative of visibility in a world that so often turns away.” His material choices spanned from deadstock Palestinian fabrics to newly developed textiles, straddling tradition and resistance.

Like Musleh, many other designers used refined technical skills not merely to display mastery but to give form to deeply personal worlds. Phoebe Bor’s bone-like skirt structures, made from eucalyptus leaves stitched and resin-coated, transformed natural debris into voluminous sculptures. Rose Seekings’ use of papery textures and bulbous knitted forms added volume to nostalgia, making memory physical. These were not just decorative gestures but emotional mechanisms.

While some sought solace in the past, others projected themselves into imagined worlds. Myah Hasbany, this year’s L’Oréal Prize winner, based her collection on what she calls the “real events” of a UFO crash in her home state of Texas. The work subtly referenced the political conservatism of the American South, showing how suppression reshapes both community and identity. Her silhouettes degraded as the show progressed, eventually collapsing into bulbous, amorphous balloon forms. Linus Stueben approached his inner world with absurd tenderness. His runway was populated by anthropomorphic wool creatures, emotional support animals spun into stress victims and escapist fantasies. These beings became both metaphors and materials.

But even as they push their expertise, they know their talent doesn’t necessarily dictate their future. Our conversations with graduates about their next steps were filled with question marks. Most are realistic about what lies ahead: they know fashion is not kind to its newcomers. And yet, they remain undeterred. Many spoke with cautious optimism about their roles within this system, not as passive inheritors but as active problem-solvers.

Hannah Smith, first runner-up to the L’Oréal Prize, spoke about wanting to “celebrate corporeal deviance with pride and reverence” and to continue pushing for more inclusive and adaptive design. Phoebe Bor was more direct: “I have to hustle. The industry needs more women.”

Others don’t seek to reform the system as much as to create their own. Yuura Asano says, “fashion is being shared in new, more personal ways, and I’d love to explore a more intimate model for connecting with people through my work.” Minjoo Jade Kim imagines new infrastructure entirely: “I hope to create a platform or community that supports young designers through collaboration and shared resources.” Others, like Sarah Mikoerey, cut straight to it. When asked what comes next, she answered plainly: “Solutions for today and tomorrow!”

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Phoebe Bor, London / South Africa
BA in Fashion Design Knitwear
Untitled Collection

What are the key inspirations behind this collection?

This collection draws from my childhood spent in the South African bush. Growing up surrounded by nature taught me to notice how the natural world mirrors itself – how feathers can mimic blades of grass, or how structures like nests or fur follow their own internal logic. I became fascinated with how nature solves problems through constraint. These limitations became a creative framework for me, guiding my design choices. The textures, shapes, and silhouettes in this collection echo animal fur, bird nests, and organic forms – each piece is a kind of homage to the natural world’s quiet ingenuity.

What materials, colours and techniques did you use in the creation of this collection?

I worked with a mix of natural and hand-manipulated materials. Dried grass feathers were hand-bound with silk mohair for the winged top. Eucalyptus leaves were stitched, pinned, and resin-coated for the round “bone” skirt. A sculpted fish, made from stuffed tights, was entirely hand-beaded. The suit jacket and skirt were knitted in silk mohair with intricate hand-beading. Bunny tail grasses were woven into a pink knitted coat, finished with handmade studs and beads. The white dress incorporates resin-coated seed pods, wrapped into the knit, while porcupine quills – soaked, softened, and hand-stitched – were used to create spiny, structural detail.

What’s next?

Hustle. Hustle. Hustle. This industry needs more women.

@phoebebor

Seoyoun Shin, Seoul, South Korea
BA in Fashion Design Womenswear
“I (still) want to be with you”

What are the key inspirations behind this collection?

This collection explores how the objects we collect and hold onto shape both our surroundings and our sense of self. It draws from my personal relationship with the things that have accompanied me – an investigation into how these items mirror and extend my identity. As I reflected on these connections, I realised I see the world graphically: a bookshelf becomes a checkerboard, books turn into striped patterns. My aim was to take simple, familiar elements and make them feel uniquely mine – just as personal objects slowly become part of who we are.

What materials, colours and techniques did you use in the creation of this collection?

I expressed these ideas through considered materials and construction techniques. A pleated skirt with circular cut-outs evokes the stacking and layering of collected objects, while a structured piece called the “Magazine Shelf” directly references methods of storage and display. Some fabrics were rigid and architectural; others were soft and fluid – echoing the varied ways I relate to my belongings. Each look represents a different form of self-extension, merging personal nostalgia with graphic interpretations of ordinary things.

What’s next?

After a year spent reflecting on what I love, I’ve come to see how important it is to protect and remember those things. I’m still drawn to fashion, but I also feel a pull toward creating clothing as a form of fine art. I haven’t settled on a single path yet – right now I’m working on a magazine about people who follow their passions, and I’m also learning how to make food replicas.

@seenseo

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Dieter Vlasich, Mexico City, Mexico
BA Fashion Design with Fashion Communication
“The Finite in the Infinite: 13 Seeds Collected Through Time and Space to Propose Alternate Ways of Being”

What are the key inspirations behind this collection?

This collection began through textile collaborations with a community of Mayan women in Piste, Yucatán, Mexico, who have practised cross-stitch embroidery for generations. I was introduced to them by Maricela Ceme, a Mayan woman who helped raise me and has been part of my life since childhood. With support from LVMH/Maison 0, I spent time in Yucatán over winter, listening to stories and connecting with the land, animals, and people. These experiences shaped the textiles and motifs I developed back in London, informed by decolonial design approaches and an emphasis on relationality, re-existence, and storytelling through craft.

What materials, colours and techniques did you use in the creation of this collection?

My focus was on textile-led making through natural materials and craft practices rooted in decolonial thought. I used embroidery, crochet, macramé, and weaving, working with naturally dyed cottons, linens, Yucatecan sisal, and hemp – some of which I grew from seed in Mexico. Dyes came from plants local to the region, including Campechan logwood, cochineal, moringa, marigolds, and sip ché. I experimented with garment construction through geometric shapes rather than conventional bodices, drawing inspiration from pre-Hispanic methods of making. The result is a body of work that proposes alternate ways of being through process, narrative, and material.

What’s next?

I’ll be speaking on a panel about alternative approaches to circularity at the Future Fabrics Expo on June 24th. I’m also developing a photo book documenting the making of this collection, to be released alongside an exhibition in late July. Beyond that, I’ll be applying for grants and job opportunities that allow me to continue or expand this kind of work, whether through further collaboration, research, or practice.

@dietervlasich

Hannah Dixey, Bristol, UK
BA in Fashion Design Print
“ALL I WANT IS A MORTGAGE”

What are the key inspirations behind this collection?

This collection is rooted in my rented flat, where I live with my partner. Amid the UK’s worsening housing crisis, collecting small objects gives me a sense of permanence – a way to create home wherever I go. These items, gathered from antique markets and charity shops, travel with me from one overpriced flat to the next. Inspired by children’s clothing from the 1950s to 1970s and my own doll play growing up, I scaled up quarter-scale garments into six full looks. Each piece reflects warmth and stability – a quiet rebellion against throwaway culture, designed to become the vintage of the future.

What materials, colours and techniques did you use in the creation of this collection?

Working at quarter scale required me to rethink fabric behaviour – like using 5mm felt wool to replicate the feel of a toy garment. Scale was everything: I laser-cut oversized versions of pony buttons and Scotty dog brooches, transforming childhood miniatures into bold, wearable statements. The result is a lineup that feels like six walking Hannah dolls. Being on the print pathway allowed me to embed artwork drawn from my home’s interior and cherished objects directly into the garments, making each piece a personal and tangible extension of my living space.

What’s next?

I hope to land a job as an assistant womenswear designer – ideally at Marni, JW Anderson, or Burberry – somewhere creatively dynamic, where I can grow alongside a team of talented people. I love the fast pace, the creative stress, the intensity of it all. I’m ready to start from the bottom and work my way up. I want to be part of designing fashion that people cherish – pieces that are meant to last.

@hannahdixey

Hannah Smith, Leamington Spa, UK
BA in Fashion Design Womenswear
“The Gentle Frame”

What are the key inspirations behind this collection?

Growing up alongside my brother, who lives with neurofibromatosis type 2, gave me a perspective on fashion’s frequent exclusion of disabled people. This collection challenges stigmatising narratives and instead celebrates corporeal deviance with pride and reverence. Medical aids are treated as meaningful extensions of the body – worthy of the same design sensitivity as clothing. It’s a tribute to the duality of disabled identity: organic and mechanical, tender and fortified. Through material juxtapositions, I seek harmony between softness and structure.

Flesh and metal, scaffold and bone,

Genetic mutation, reason unknown.

What materials, colours and techniques did you use in the creation of this collection?

A central motif is wrought iron gates – symbols of restriction and protection – reimagined through soft, sheer materials like silk organza and tulle. Airbrushed prints mimic the crimson shadows of shedding antlers. Machine embroidery creates floating lines across transparent surfaces, while loose threads I’ve collected over the years are layered and trapped between sheers in intricate, ironwork-like forms. I also sculpted fringe-cut leather into delicate motifs, offering a second skin of softened security. Every technique serves to balance strength and vulnerability.

What’s next?

I want to spend the next few years gathering both industry and life experience, further developing my design voice. This collection planted a seed I know still has room to grow. I’m passionate about encouraging more inclusive and adaptive design, and I’ll continue advocating for that wherever I can. I’m excited to begin a collaborative project with musician, poet, and model Naadriah Qazi of Qazi & Qazi, exploring conceptual and artisanal design with disability at its centre.

@hannahsmi.h

Haseeb Hassan, London / Pakistan
BA in Fashion Design Womenswear
“Fragmented Threads: A Patchwork of Belonging”

What are the key inspirations behind this collection?

This collection is rooted in the friction and richness of my dual upbringing between London and Pakistan. It explores diaspora, identity, and belonging through a personal lens. A key image that sparked the concept was a photo of my mother wearing traditional attire with a sharply tailored, masculine peak-lapel blazer – a moment that perfectly captured the fusion of East and West. This tension led me to investigate cultural dress codes through cutting techniques. I was also inspired by Madame Grès and her sculptural approach to draping, which deeply informed the technical construction of the collection.

What materials, colours and techniques did you use in the creation of this collection?

I worked primarily with menswear shirting fabrics to challenge ideas of formality and function. Cotton featured heavily, it’s both a staple fabric in Pakistan and the base for the patchwork elements, most of which were sourced from home. For Look 1, a traditional tunic, I used leather laser-engraved with Pakistani motifs to subvert expectations around cultural archetypes. Colour choices emerged naturally through research, with the final look in green and white to reflect the Pakistani flag. Across the collection, techniques like draping, patchworking, and laser engraving allowed me to reflect the layered nature of hybrid identity.

What’s next?

For now, I’m planning to take a break from education and step into the industry. Maybe I’ll do an MA in the future – who knows. Right now, I’m excited to gain experience and see where that leads.

@haseeb.hassan__

Isaac Lizarraga Curiel, London, UK
BA in Fashion Design with Marketing
“Tails!”

What are the key inspirations behind this collection?

Tails! reimagines the world through a dog’s eyes – where the mundane becomes magical, and daily life is an unfolding fairytale. The collection steps away from the human perspective, embracing the wonder dogs find in ordinary moments – a park becomes an adventure, a scent becomes a story. Inspired by theatre, historical costume, and the simple rituals of doghood, the collection invites us to rediscover joy and curiosity. Many pet owners dream of understanding their dog’s inner world – this is my attempt to bring that fantasy to life, with playfulness, charm, and a touch of imagination.

What materials, colours and techniques did you use in the creation of this collection?

Textile innovation was key to bringing this canine perspective to life. I avoided literal interpretations of fur and instead created bespoke textures using zero-waste techniques. Look 1, The Poodle, was constructed from hundreds of metres of recycled hotel bedsheets – gathered and stitched to mimic poodle curls. In Look 2, layered, dyed fringe yarns suggest a shaggy coat. Look 4 features over 20,000 hand-sewn bows, forming a tactile, fur-like surface. Millinery blocking techniques shaped sculptural forms, which were then covered in custom-made textiles. With a neutral colour palette, the textures take centre stage, drawing focus to the material storytelling.

What’s next?

I’m taking time to reflect and explore personal projects – perhaps developing an independent collection or collaborating with designer friends. Although I’ve been offered a place on the Fashion Design MFA at Parsons in New York, I’m not rushing into further study just yet. I’m also drawn to the costume industry, especially for film, which has long inspired my work. Whatever comes next, collaboration is central to my practice, and I’m excited to carry forward the momentum and energy this course has given me.

@isaaclcuriel

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Jada Tudor, Wrexham, Wales
BA in Fashion Design Womenswear
“Bidrohinī’ (The Rebel)”

What are the key inspirations behind this collection?

I’m half-British and half-Bengali, and my collection explores the tension and duality of those identities. At its core is the hijra community – gender-nonconforming figures once revered under Mughal rule and within Hindu iconography, but later erased under British colonisation. As someone shaped by both the oppressor and the oppressed, this history is personal. The collection contrasts elitist British and European couture references with South Asian and hijra cultural symbols. Through these juxtapositions – between industry and myth, visibility and erasure – I imagine what hijra identity might have looked like if colonial violence had not intervened.

What materials, colours and techniques did you use in the creation of this collection?

I use metal as a central material – its hardness reflecting both the brutality and beauty of industrialisation. Religious and cultural elements are also key: mesh symbolises both restriction and liberation, and I reimagine South Asian motifs like henna and bindis through the lens of dual heritage. Natural, reclaimed materials – deadstock leather, wool, old fur rugs – honour organic textures and familiar, embodied forms. These choices reflect an emotional and physical layering: a body in flux, a heritage reworked, a narrative reclaimed.

What’s next?

I’d love to start my own long-term projects and brand, but I’m realistic about the financial challenges. I’ve grown to value helping realise others’ visions through commissions and work experience, so working for an ethically driven brand is a path I’m open to. Introspective work can be emotionally exhausting, so I also hope to spend more time with communities beyond my own. My goal remains clear: to create spaces that revitalise postcolonial identities and celebrate the historically marginalised. Bidrohinī is an act of reconstruction – of self, of heritage, and of the stories that deserve to be seen.

@jadaatudor

Minjoo Jade Kim, Seoul, South Korea
BA in Fashion Design with Marketing
“We Wear What We Wear”

What are the key inspirations behind this collection?

This collection began with an exploration of fashion conformity in South Korea and the historical forces that shaped it. During the country’s industrial boom, mass garment production became a key source of national income – often at the expense of factory workers, many of them young girls facing exploitation and health issues. Today, while material sustainability is crucial, we must also focus on the sustainability of fashion workers’ lives. Through this collection, I want to raise awareness around labour ethics. As the next generation of the industry – including the CSM class of 2025 – we must prioritise fairness, care, and human dignity.

What materials, colours and techniques did you use in the creation of this collection?

I developed a unique pattern-cutting method inspired by mass production processes in garment factories, visualising stacks of clothing using lines and dots that informed new silhouettes. I mainly worked with transparent fabrics like chiffon, layering them to create depth and shifting colours. This was a new challenge for me – softer, more delicate materials than I had used in earlier years. But my placement at Kiko Kostadinov gave me the skills and confidence to take this step. The result is a collection that speaks both to structural repetition and the individuality that can emerge from it.

What’s next?

One day, I hope to create a platform or community – something like 1 Granary – that supports young designers through collaboration and shared resources. When I first arrived in London, I was inspired by the sense of unity among creatives, but I’ve seen that fade over time. At CSM, I’m constantly surrounded by talented, passionate individuals who often struggle with limited support. I feel lucky to be part of this group – and want to give back. Realistically, the first step is gaining experience in the industry so I can one day help build the kind of creative ecosystem we all need.

@ifitmeansyou

Joe Fearon, Liverpool, UK
BA in Fashion Design Print
“Nowt So Queer as Folk”

What are the key inspirations behind this collection?

Nowt So Queer as Folk is an odyssey through British folklore, history, and tradition, filtered through a queer coming-of-age lens. Growing up queer in a northern village with fading customs, I still felt drawn to the idea of ritual and community. I imagined a fantastical queer folklore – part twisted, part joyful. Influences include folk horror cinema (The Wicker Man), traditional costumes like hobby horses and Morris dancers, and queer fetish culture. The collection reflects an adolescent exploration of sexuality and identity, fusing the eerie and the celebratory, the sacred and the subversive.

What materials, colours and techniques did you use in the creation of this collection?

I took a sculptural approach to silhouette, drawing from monolithic forms like stone circles—using card and wire to build abstract, phallic structures that disrupt more cheeky, fetish-inspired shapes. The aesthetic is intentionally imperfect: frayed, distorted, and DIY. That’s what feels queer to me, a clash between the natural and the so-called ‘unnatural’. Traditional materials like raffia, wool, and lace are paired with latex, creating visual tension. Raffia and straw appear in every look, echoing folkloric motifs, while found objects like beach-combed feathers and animal bones channel the uncanny energy of folk horror.

What’s next?

I’d love to explore this collection in an installation context. Nowt So Queer as Folk has taken on a life of its own – it’s a world I’ve spent over a year building, and I’m fascinated by the narrative potential of fashion. My work sits between fashion, fine art, sculpture, and costume, and I want to keep creating in that expressive, gestural space. The challenge is finding where fantasy and folklore fit in contemporary culture, but I’m excited to keep pushing that boundary.

@jxefearon

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Linus Stueben, Hamburg, Germany
BA in Fashion Design with Marketing
“CRUMBLING UNDER PRESSURE”

What are the key inspirations behind this collection?

We’ve been crumbling under pressure since primary school – that’s when the nightmare began. The stress, the expectations, the constant outside noise. Each year it got worse. The only thing that saved me was my emotional support animal. This collection channels the absurdity of being so overwhelmed you don’t notice the toilet paper stuck to your shoe – or booking a train to “Peris” instead of Paris. Eventually, you stop caring. You laugh at the chaos. You let go. This is a call to stop taking yourself so seriously – because the pressure’s never going away, but your attitude toward it can.

What materials, colours and techniques did you use in the creation of this collection?

Wool is a constant in my practice, and I pushed it further by collaborating with an amazing milliner to create a seam-free jacket using traditional hat-making techniques. I also went sheep shearing and incorporated some of that raw wool into the garments – giving them a “face,” a texture that feels alive. For Look 5, I constructed the shape entirely from interlocked metal hair clips, bent into form to create structure without conventional supports. The materials reflect both constraint and freedom, a kind of tension that mirrors the emotional core of the collection.

What’s next?

I want to keep extending the world I’ve built – layering on everything I’ve learned this year and pushing my practice forward. I plan to continue collaborating with the amazing people I’ve worked with so far and see where those shared ideas take us next.

@linusstueben

Luke Hemingway, Bolton, UK
BA in Fashion Design with Marketing
“Dream Ceremony”

What are the key inspirations behind this collection?

This collection starts and ends with my mates back home. The garments were made with and for them – threaded with narratives that reflect and elevate their authentic character. Dream Ceremony explores the collapse of subculture, North Western identity, and ideas of authenticity. It draws on the strange undercurrent of nostalgia and performance, haunted by half-remembered, half-invented figures like Pudsey, Frank Sidebottom, and tribute bands. It’s about lads caught between myth and mundanity, ceremony and collapse – navigating a world where the extraordinary and the everyday blur.

What materials, colours and techniques did you use in the creation of this collection?

Most fabrics came from a warehouse in Kettering, including deadstock from old Nigel Cabourn collections. I used surplus parachutes from the ’60s and ’70s, and Ventile – a waterproof textile invented in Manchester. I was also sponsored by Harris Tweed and Bolton-based cobblers Norman Walsh. Collaborations played a big role: jewellery designer Amina Badylbayeva, who grew up partly in Manchester, created custom goggles and a genuine bronze medal, while knitwear designer Yaya Dergatcheff helped develop bespoke accessories. The materials and partnerships reflect the regional pride and collaborative energy behind the project.

What’s next?

The fashion show isn’t the end – I’m taking time this summer to shoot a narrative film with my friends back home in Bolton, bringing the collection to life off the runway. My films have been my most successful output so far, with Worktown screened in Manchester (twice), New York, Vienna, and Iran. Long term, I want to return home for good and build a practice rooted in community – supporting local artisans and telling important stories with care, humour, and grit.

@lukehemingway_

Marie Schulze, Burgsteinfurt, Germany
BA in Fashion Design Womenswear
Untitled Collection

What are the key inspirations behind this collection?

This collection began with reflections on my time working in the German Parliament before coming to CSM. I was struck by the women there – dressed in eerie, hyper-tailored suits that were shiny, bright, and often considered “improper.” There was no clear uniform, yet their presence was commanding. I became fascinated by how clothing could become a code for female power – how a single woman in a room of nine men could hold the space. The collection captures that dynamic: a disruption, an assertion, and a quiet dominance through dress.

What materials, colours and techniques did you use in the creation of this collection?

I started by asking how I could subvert archetypes of masculine formalwear using traditionally feminine materials. I worked with satin, taffeta, and silk dupion – fabrics often destined for “mother of the bride” dresses – and reimagined them as men’s shirts, day suits, and tuxedos. Pattern cutting was central to this process. I sculpted garments to turn the ruched sleeve of a men’s shirt into the silhouette of a power suit. The finishings draw from activewear – unlined and sealed – so she can run to the office in her own uniform.

What’s next?

Maybe an MA, maybe a job in fashion. Or maybe back to politics?

@mariesssschulze

Myah Hasbany, Texas, USA
BA in Fashion Design with Marketing
“Aurora, Texas”

What are the key inspirations behind this collection?

This collection centres on the “true” story of a UFO crash that was supposedly covered up in the town of Aurora, Texas. I imagined how the town’s residents might mutate or transform over time as a result of concealing this event. The silhouettes evolve throughout the collection – starting with recognisable forms and gradually morphing into otherworldly figures. It’s also a reflection of my own experience growing up in Texas, a place where difference is often buried or denied. Through this fictional lens, I explored how suppression reshapes both individuals and communities.

What materials, colours and techniques did you use in the creation of this collection?

I wanted the materials to reflect the alien nature of the narrative – something that might appear ordinary from afar but reveals itself as strange and unfamiliar up close. I set the story in the 1950s, a decade often romanticised in Texas as the last time America was “great.” I used visual cues from that era – crochet, embroidery, retro silhouettes – but made them subtly off-kilter. Techniques included detailed handwork and textile manipulation, including a coat embroidered with over 300,000 beads stitched entirely by hand. Everything was crafted to feel uncanny and precise.

What’s next?

I want to continue creating for body types that have long been excluded from fashion’s spotlight. As someone who is mid/plus size, this collection was especially meaningful – designing clothes that celebrate bodies like mine. There’s so much joy and glamour that hasn’t been offered to us, and I want to prove that we are fabulous models who deserve fabulous clothes.

@myahhasbany

Rose Seekings, London, UK
BA in Fashion Design Knitwear
Untitled Collection

What are the key inspirations behind this collection?

This collection is rooted in childhood memories of the British seaside – windswept beaches, striped deckchairs, and the odd charm of a rainy day. I drew from retro ’50s and ’60s swim and beachwear, aiming to evoke the sense of escapism found in old Hollywood. Kites became a central influence – both structurally and symbolically – with their fragile papery textures, lightness, and motion. Their shapes and mechanics inspired not only the silhouettes but the very material logic of the collection, merging playful nostalgia with sculptural fantasy.

What materials, colours and techniques did you use in the creation of this collection?

I focused on sculptural silhouettes that conveyed lightness and lift. Using partial knitting, I built forms from triangular and kite-like shapes, often referencing beach umbrellas. I inlaid materials into the knit – like paper-covered wire – to create foldable, structured pieces with a papery texture and a sense of movement. For contrast, I used fine gauge viscose embroidery yarns to knit softer, flowing garments that brought bursts of colour and delicacy. Every piece was fully fashioned from spare-shaped panels and assembled through folding and moulding, avoiding cutting and minimising waste while allowing the form to emerge instinctively from the textile itself.

@roseseekiings

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Rufus Seagrim, London, UK
BA in Fashion Design Print
Untitled Collection

What are the key inspirations behind this collection?

The journey began with dots and workwear, took a detour through Studio 54, and circled back to my formative crush on Mr Tumnus from Narnia. In the end, I just wanted to make clothes I already own – reimagined in prints I really love. My main goal was to avoid the “sad clown” trap: when someone sets out to make joyful clothes but is quietly miserable, and it shows. I tried to stay lighthearted throughout, and I think that energy carried through. After the show, my family said the collection felt like walking into my bedroom – which, mostly, made me very happy.

What materials, colours and techniques did you use in the creation of this collection?

I had planned to be very grown-up and stick to one print technique… but I ended up using nearly everything in the print room. Digital printing, dyeing, screen printing – you name it. I especially loved working with reactive dyes; they seep into the fabric and give incredibly rich results. That said, each printed panel required 45 minutes of hand-washing, which became a very sweaty, unglamorous reality. Still, the messiness of it all was part of the fun.

What’s next?

A long nap, a cheeky bit of freelance work, some basketry, a job hunt, and a quest for a reasonably priced studio with good light – ideally somewhere in Zone 3.

@rufus.png

Timisola Shasanya, London, UK
BA in Fashion Design Menswear
“Runners”

What are the key inspirations behind this collection?

This collection is rooted in my personal migration narrative – an exploration of how movement shapes identity and how memory is preserved through material. I became interested in displacing context: taking the textures, weights, and emotional resonances of one place and reimagining them in another. Heidi Bucher’s “skinnings” had a deep influence on me. I researched my childhood environments in London and Lagos and travelled to Kano in Northern Nigeria to collect tactile materials. Through fabric manipulation, weaving, hand-dyeing, and unconventional materials, I translated the psychological and sensory experience of migration into garments – each piece a vessel for memory.

What materials, colours and techniques did you use in the creation of this collection?

I selected materials with personal and cultural weight – indigo-dyed fabric and leather sourced in Kano, Nigeria, alongside waxed cotton sponsored by Barbour, referencing the jackets from my boarding school years. These sat alongside natural linens, raw cottons, and unconventional elements like metal and brooms found in my surroundings. The colour palette moves through deep indigos, earthy neutrals, and weathered tones, echoing the tactile imagery of my research. The final look in the collection introduces technical, sail-inspired construction, adding a weatherproof quality that speaks to the resilience and adaptability of the migrating body.

What’s next?

Travel. I want to explore new places, immerse myself in different cultures, and keep creating with intention – whether within a brand, a consultancy, or my own practice. What matters most is pushing my perspective forward, telling stories that resonate, and working on projects that feel authentic. Fulfilment – not just visibility – is the goal.

@timisolashasanya

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Yuura Asano, Japan / USA
BA in Fashion Design Print
Untitled Collection

What are the key inspirations behind this collection?

My collection explores the moment girls begin their journey into womanhood – the fragile threshold of adolescence where identity starts to shift under the weight of expectation. A key influence was Reviving Ophelia by Mary Pipher, which examines the psychological challenges girls face during puberty. Historically, women have often been cast as supporters rather than protagonists. I wanted to reimagine womanhood as seen through the eyes of our younger selves – before self-doubt took root. The collection references archetypal garments across eras: the dropped waistlines of the 1920s flapper, the structured twinsets of the ’50s and ’60s. Each silhouette is filtered through a girlhood lens, reflecting not womanhood as it is, but as we once dreamed it could be.

What materials, colours and techniques did you use in the creation of this collection?

I gravitated toward materials associated with traditional womenswear – avoiding synthetics in favour of natural fibres. Wool suggested the seriousness and structure often projected onto womanhood, while cotton evoked lightness, freedom, and childhood tea dresses. These materials became vessels for cultural codes, while my prints served to subvert them. I used screen printing to apply my own illustrations and paintings – expressive, adolescent mark-making that disrupts and recontextualises the garments. Print became a way to explore how girlhood imagination might reshape classic feminine silhouettes.

What’s next?

I want to keep refining my creative language – finding a balance between womanhood and girlhood, between structure and spontaneity. I’m especially interested in how print can continue to interrupt and transform traditional forms. I know I want to build my own practice, though what shape that takes is still unfolding. Fashion is being shared in new, more personal ways, and I’d love to explore a more intimate model for connecting with people through my work.

@yuura.a

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Andy Pomarico, New York, USA
BA in Fashion Design with Knitwear
“Humiliation Parade”

What are the key inspirations behind this collection?

Humiliation Parade is rooted in my experience as an autistic and queer person navigating the world as an outsider. I’m not interested in “good taste” or being well-behaved – this collection is a rebellious manifesto that imagines everything differently. My work explores the humour that emerges from discomfort: the awkwardness, the obscure, the unknown. I’m fascinated by the uncomfortable silences we fill with laughter. The collection is playful, disobedient, and proudly out of step. It’s about celebrating what doesn’t fit in.

What materials, colours and techniques did you use in the creation of this collection?

This collection veers toward fine art more than fashion – I created oversized sculptural pieces that overwhelm the wearer, turning the runway into a satirical parade rather than a catwalk. I worked with secondhand and ready-made objects, assembling them into maximalist compositions. I’m drawn to discarded, “ugly” things – objects that have been rejected – and giving them a space to be appreciated. The work is performative and chaotic, embracing excess and absurdity as a kind of radical celebration.

What’s next?

I hope to move into performance, fine art, and set design. I love making things – whether it’s sculptural, wearable, or entirely impractical – and I’ve built up a wide range of fabrication skills. Whatever I do next, I want to keep working with my hands and building strange, beautiful worlds.

@andy.pomarico

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Ayham Hassan Musleh, Ramallah, Palestine
BA Fashion Design Womenswear
“IM-MORTAL MAGENTA: the colour that doesn’t exist”

What are the key inspirations behind this collection?

My graduate collection contemplates the reality of genocide and the quest for liberation. Growing up and coming of age under settler colonial rule and military occupation in Palestine forces one to confront harsh contradictions: questions of worthiness and despair, and the unhinged cruelty of the other. At the same time, it compels one to rise above hypocrisy, hatred and destruction – to seek hope, growth, and emancipation.

Through my work, I reclaim my narrative and confront dispossession and displacement. I honour and remember those erased and destroyed. I stand steadfast in the lineage of my ancestors’ crafts and traditions. I speak humble truth in the face of belligerent power.

For this collection, I’ve drawn from the historic textile and dress traditions of Gaza as a source of grounding, direction, and inspiration. Techniques include print, hand and machine embroidery, leatherwork, laser engraving and cutting, and knitwear.

This collection is about Palestine. It is a response to the genocide in Gaza.

“إنها ليست ثوبًا أخلعه اليوم، بل جلدًا أمزقه بيديّ. ولا هي فكرة أتركها ورائي، بل قلبًا حلوًا بالجوع والعطش.”

“It is not a garment I cast off this day, but a skin that I tear with my own hands. Nor is it a thought I leave behind me, but a heart made sweet with hunger and thirst.”

— Khalil Gibran, The Prophet (1923)

What materials, colours and techniques did you use in the creation of this collection?

The materials were chosen to reflect both tradition and resistance: deadstock silks and leather, woven cottons from Palestine, chiffon, organza, and pleated paper. I developed new textile techniques to express specific emotional and political ideas – knitting rubber bands into slingshots, steaming leather, and engraving fabric with laser-cut motifs. Cross-stitch embroidery from the West Bank, digital and silk screen prints, quilting, and heat-press techniques all appear throughout the collection. Magenta dominates, but it’s often offset by metallics, textures, and sheer layers that speak to fragility, mourning, and transformation.

What’s next?

I want to grow a career that centres Palestinian identity while fostering a creative ecosystem that uplifts others from my community. I plan to establish a studio that combines fashion, activism, and education – producing work that challenges both aesthetic conventions and the fashion industry’s political disengagement. My goal is to create garments that don’t just reflect identity, but shape it – empowering those who wear them and those who see them. Through collaboration, storytelling, and a commitment to justice, I aim to contribute meaningfully to fashion and cultural preservation.

@ayham_hassan_99

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Daisy Knight, Port Townsend, USA
BA in Fashion Design with Knitwear
“Women in STEM”

What are the key inspirations behind this collection?

This collection is rooted in my upbringing in a small American town, shaped by the strength and creativity of my mother, a nail technician working in a local hair salon. I spent countless hours there, surrounded by a vibrant, feminine energy. My mother often performed in hair shows I wasn’t allowed to attend – but I remember the stories, the photos, the movement. That early exposure to beauty, performance, and sensuality deeply influenced my design perspective. Women in STEM explores expression through texture, movement, and femininity – honouring the women who shape, build, and perform with quiet power.

What materials, colours and techniques did you use in the creation of this collection?

I worked primarily with knitwear techniques – laced-up knitted monofilament bodysuits and ruffles made from deadstock cotton, all hand-dyed and crocheted with elastics. The result is a hair-like fringe that adds energy and movement to each look. The models played a key role in bringing the pieces to life – embodying themes of sexuality, fluidity, and strength. The collection celebrates self-expression and complexity in womanhood, capturing a bright, physical sense of freedom in every garment.

What’s next?

I want to continue using my work to uplift female voices and support other women in design. Collaboration, representation, and community will remain central to my practice as I move forward.

@Daisyannaknight

HongJi Yan, Beijing, China
BA in Fashion Design Womenswear
“The Invisible People”

What are the key inspirations behind this collection?

This collection was inspired by my experience of feeling invisible while working abroad in a large, unfamiliar city. At the same time, I noticed a growing number of young people in China becoming delivery drivers or livestream influencers – highly visible in public and on screens, yet often ignored or socially overlooked. That contradiction resonated with me. The Invisible People explores the tension of being constantly seen but rarely acknowledged, reflecting how Gen Z gig workers construct identity and presence in a world that’s fast, digital, and emotionally distant.

What materials, colours and techniques did you use in the creation of this collection?

I explored invisibility through both material and metaphor. Semi-translucent TPU created frosted layers over the skin, paired with motion-inspired prints to reflect speed and flux. I also used flexible screens that show what’s behind the wearer, creating digital camouflage and referencing how gig workers and influencers are seen only through screens – always visible, but never fully present. Reflective materials, sequins, and fluorescent colours heighten the contrast between hyper-visibility and social erasure in the urban landscape.

What’s next?

I want to keep expanding my practice beyond fashion – into sculpture, installation, and fine art – while continuing to explore how clothing intersects with other media. I’m planning to start a studio that allows for free experimentation, and I hope to bring together a team of creatives I’ve met along the way. My goal is to build work that’s collaborative, boundary-pushing, and rooted in both storytelling and visual innovation.

@hongji_yan__

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Isobel Dickens, Bristol, UK
BA Fashion Design Womenswear
“I Am Telling You Because You Are Far Away”

What are the key inspirations behind this collection?

My collection reflects on my childhood in Thanet, which I left at age ten. It explores memory, loss, and what we carry with us – friends, places, objects. I revisited old drawings and collected weathered items from the shore, using them to shape silhouette, texture, and colour. Though rooted in personal memory, the work isn’t about mourning – it’s about honouring what remains. The garments hold space for absence, nostalgia, and the ghosts of home, while inviting others to connect with their own sense of place and what they’ve left behind.

What materials, colours and techniques did you utilise in the creation of this collection?

A key material in this collection is pipecleaners, which I used to create trompe-l’œil knitwear inspired by one of my brother’s hand-me-down jumpers. I also used craft foam, cutting it into shapes to suggest prints or garment details. Another central technique was cardboard relief printing – stripping away layers of cardboard to build tactile, textural surfaces that echo the fragility and impermanence of memory.

What’s next?

I want to keep creating work. I’m starting my MA in September and I’m excited to explore and push these techniques further.

@_isobeldickens

Lucas Louis Lidy, Gattières, France
BA in Fashion Design Menswear
“SATOR”

What are the key inspirations behind this collection?

SATOR is inspired by my childhood in rural Provence, where nature and regional heritage shaped my creative worldview. Growing up queer in a traditional, conservative setting meant navigating rigid gender norms while forging a queer identity outside urban narratives. This collection reimagines agricultural attire through refined silhouettes and details that honour the overlooked richness of rural queer life. It challenges commercialised queer aesthetics and proposes a nature-rooted, inclusive utopia. SATOR is both a visual expression and a manifesto – amplifying rural queer voices and calling for broader LGBTQIA+ visibility beyond city spaces.

What materials, colours and techniques did you use in the creation of this collection?

I worked exclusively with natural fibres, aiming for textures that reflect my regional and agricultural roots. Stripes and herringbone patterns nod to traditional Provençal garments, reinterpreting rural craft through a contemporary lens. I used Japanese fabrics for shirting – balancing structure with lightness – and employed pleating and gathering to mimic stripe motifs in other pieces. With support from Recycleather, I used their recycled leather PELINOVA to create a vintage-printed coat that adds dimension to the silhouette. Wheat and straw, used in both styling and material construction (including the final look’s skirt), complete the aesthetic with a tactile link to the land.

What’s next?

I’m focusing on refining my portfolio and building an online presence to connect with stylists, designers, and creatives who resonate with my work. I’d like to present SATOR at the Festival de Hyères to gain visibility and attract potential collaborators or investors. Launching my own brand is a strong possibility, but for now I’m staying open – seeking experiences that allow me to grow, learn, and expand my professional network.

@3l_lidy

Megan Alloh, London, UK
BA in Fashion Design with Knitwear
“Imported Traditions”

What are the key inspirations behind this collection?

£33.99 – the price of the largest piece of stockfish at my local market – was the starting point for this collection. Stockfish, a Norwegian delicacy, holds deep value in West Africa. That discovery led me to question what other traditionally European goods and customs have become embedded in African life, evolving into Imported Traditions. This collection explores the hybridity between Europe and West Africa, particularly the cultural exchanges between Britain and Ghana. It reflects on the traditions my family brought from Ghana and the European influences I’ve inherited as a Black Brit, unpacking the complexities of identity, adaptation, and belonging.

What materials, colours and techniques did you use in the creation of this collection?

To explore texture and contrast, I used materials like fish skin leather and bathroom sealant for surface detailing, while sublimation printing features heavily throughout. The iconic “Ghana Must Go” checkered bag pattern is reinterpreted as a recurring motif. I also incorporated blond synthetic Marley hair as a material element, nodding to diasporic beauty traditions and layered cultural identity. Each technique and material reflects a fusion of influences – symbolic of both heritage and hybridity.

What’s next?

I want to keep developing this concept – there’s still so much to say about the connections between West Africa and Europe in a postcolonial context. Professionally, I hope to find roles that allow me to grow my knitwear and jersey skills, while also expanding my understanding of woven garment construction. I’m excited to keep learning.

@mallohalloh

Ming Lim, Vancouver, Canada
BA Fashion Design Womenswear
“A Woman’s Mille Feuille”

What are the key inspirations behind this collection?

This collection began after watching Past Lives by Celine Song. It sparked a period of self-reflection, expanding my idea that we live many lives within a single lifetime. I was drawn to how these layers manifest in the sentimental clothes we keep – like a coat passed down from a parent, or a cardigan worn every winter. Much like the rings of a tree, we accumulate memories, one layer at a time. I wanted to explore how clothing holds emotional residue – each piece a trace of a version of ourselves.

What materials, colours and techniques did you use in the creation of this collection?

I developed a technique using deadstock silk organza and crin to layer subtle garment details – like a pocket or buttonhole – by intentionally slicing and shaping fabric. I also used flocking to contrast the sheerness of organza with soft, opaque fibres that appear almost like dust. The effect is hazy, dreamlike – nothing is fully clear, as though memories and garments are overlapping, blurring into one another.

What’s next?

I plan to stay in the UK and continue creating while building my portfolio. As an international student, I know navigating the job market here is its own challenge, but I’m determined. I may pursue an MA in the future, possibly in London or Paris, where I’ve previously lived and worked.

@ming__lim

Patricia Aileen, Surabaya, Indonesia
BA in Fashion Design Print
“Hope Villa”

What are the key inspirations behind this collection?

Hope Villa is inspired by my childhood growing up above my mother’s hardware shop in Indonesia. Pipes, paints, tiles – these building materials became my playground. I started thinking of my mother as my home, metaphorically constructing a house around me. This idea of the woman as home led me to explore sportswear and how it accentuates the body’s architecture. I draped garments with hardware objects and found materials, combining this with research into London homes – spaces where remnants of nostalgia, memory, and identity live side by side.

What materials, colours and techniques did you use in the creation of this collection?

As an athleisure collection, I focused on deadstock technical fabrics – sports jerseys, swimwear materials, and nylon. I chose bright, vivid colours to highlight and contour the body. The prints were developed using a combination of screen printing and sublimation techniques, allowing me to layer imagery and texture while preserving a bold, graphic feel. The construction mirrors the energy of both home and body – built, adorned, and made to move.

What’s next?

I’d love to keep building on this collection and spend time back home with my family and friends. Maybe I’ll learn a new language, take on wedding dress commissions, or even start my own label in Indonesia. I’m open to wherever inspiration leads – and maybe I’ll return for a Master’s degree one day, too.

@dingpatricia

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Poppy Sendell, London, UK
BA Fashion Design Womenswear
“The Wragby Woods”

What are the key inspirations behind this collection?

The Wragby Woods is inspired by Constance Chatterley in Lady Chatterley’s Lover (1929, D. H. Lawrence). Trapped in a passionless marriage with the war-injured Lord Chatterley, Connie seeks emotional and physical connection and finds it in a secret affair with Mellors, the gamekeeper. As spring unfolds, so does her sexual awakening – mirrored by blooming wildflowers like campions and bluebells. The collection explores how desire can feel natural yet fragile, sensual yet soft. Like the forest, Connie becomes impulsive, alive, and renewed – a woman fully reconnected with her body and emotional life.

What materials, colours and techniques did you use in the creation of this collection?

To express the delicacy and strength of female sexuality, I constructed the collection from paper. I began by digitising my toiles and scanned deadstock fabrics. These were then UV printed onto Japanese Kizuki Kozo paper or crepe paper layered with organza. The Kozo paper was backed onto fabric and laser cut into floral shapes, while the crepe paper was hand-cut and heat-bonded. This technique gave the garments the structural rustle and texture of paper, while still retaining the softness and fluidity of fabric – evoking the sound, fragility, and bloom of spring in motion.

What’s next?

I’ve always dreamed of starting my own brand. When I was younger, I imagined it would be called The Poppy Sendell Show – a nod to my love of dressing up and, admittedly, being the centre of attention! Who knows? Maybe that’s where things will lead…

@POPPYSENDELL

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Zainab Mansary, London, UK
BA in Fashion Design
“His Reflection Is Blue.”

What are the key inspirations behind this collection?

“You look like him. Don’t be like him.”

That’s what echoed in my ears the summer of 2024, while watching Now I See by Lane Malaolu – a piece about movement, Black masculinity, and forgiveness. His Reflection Is Blue. explores the legacy of my parents’ migration from Sierra Leone to south London in the late ’90s, shaped by civil war and survival. Starting with a family photo album, the collection reflects masculinity as seen through my mother’s eyes and my own longing to understand my father. It’s about identity, displacement, and the emotional residue carried through generations and across oceans.

What materials, colours and techniques did you use in the creation of this collection?

The collection repurposes recycled streetwear – puffer jackets, denim, and oversized silhouettes – disrupted through draping techniques to challenge the rigidity of traditional streetwear forms. Inspired by the style codes my parents adopted while navigating Old Kent Road, these garments also carry a layered narrative. I incorporated distorted Union Jack motifs alongside “I love Sierra Leone” check prints, exploring the idolisation and disillusionment of British identity in postcolonial Sierra Leone. Dutch Wax prints are recontextualised to question their celebratory status and colonial past. Movement studies and physical theatre also informed the way garments sit and shift on the body – highlighting both restriction and release.

What’s next?

I want to return to Sierra Leone to continue building a visual archive – capturing stories, textiles, and memories firsthand. Long-term, I hope to pursue an MA in Menswear. My undergraduate studies laid a foundation in print and texture; now I want to apply that even more intentionally to the body, deepening my exploration of identity, heritage, and masculinity through fashion.

@Zainabxmansary

Antonio Femia, Hamme-Mille, Belgium
BA in Fashion Design Womenswear
“A walk in the forest”

What are the key inspirations behind this collection?

The collection was inspired by the forest surrounding my house in Belgium and what lives in it. The first looks are illustrative of what resides in the forest and the more the collection continues the more the characters become fantastic – from the snail to the witch and from the mushroom to the corpse.

What materials, colours and techniques did you use in the creation of this collection?

I tried to use as many second hand materials as possible, as second hand markets are very embedded in Belgian society. Looks are embroidered with anything I could find in vintage markets and charity shops.

@primordialbr0th

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She Carmona, UK / Philippines
BA in Fashion Design Menswear
“My Home in Paraiso”

What are the key inspirations behind this collection?

My key inspiration is my travel in Philippines and using those waste materials from back home. It was my first time returning to my home in Paraiso as an adult, and I used film photography as a mode of research. I reference uniforms I found in a suitcase that my parents had left behind when they moved country, and how the codes of the pieces change within the diasporic experience.

What materials, colours and techniques did you use in the creation of this collection?

I developed a slicing technique on my BA where I shred materials in reference to ‘un-uniforming’ the uniform. In terms of colours, I am attracted to medical blues, and wanted to reflect the mix between the natural and artificial in the Philippines. I also use rice bags from Paraiso and intentionally kept the natural colours of the worn bags. I felt it was important to collaborate with a sailing company in the UK, using technical sailing fabrics provided by Henri Lloyd.

What’s next?

I just received an offer for the MA here at Central Saint Martins. For this collection I tapped into bridging the gap between the Philippines and UK but this was only a dip of the toe, and I look forward to exploring my experience and perspective on this further on the MA.

@she.carmona

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Yuze Li, China
BA in Fashion Design with Knitwear
“THE HEROIC ERA”

What are the key inspirations behind this collection?

My collection is inspired by a question: What happens when humanity finally realises its fragility, yet finds no way forward? In response, I created six figures and imagined them as human heroes who might lead us through a time when our home is no longer habitable, and the future feels unreachable. The collection focuses heavily on balancing traditional craft techniques, contemporary processes, and recycled materials. I don’t believe in a future that’s purely cyber or tech-driven – I see something layered, carrying human memory, traces of the past, and imperfection.

What materials, colours and techniques did you use in the creation of this collection?

The collection explores the intersection of traditional craftsmanship and contemporary garment construction. Techniques include crochet, hand and machine knitting, and embroidery. It incorporates crafts like ceramic, Tibetan black pottery, glassmaking, wire weaving, Chinese floral knot work, hairpin lace, and paracord work. The palette is grounded in metallic tones – primarily gold and silver – contrasted with black and white. This interplay of light and dark introduces rhythm and tension, accentuating form, surface, and movement.

What’s next?

What’s next is to keep expanding my universe – I want to further develop RĒV LIX into a narrative-driven brand that blends poetic futurism with craftsmanship.

@revlix4

Mason Tomsett, Dunoon, Scotland
BA in Fashion Design Menswear
“An Unholy Testament of a Bum Boy”

What are the key inspirations behind this collection?

This collection explores the queer experience of navigating masculinity, especially the way clothing has been used to suppress, conceal, and ultimately liberate identity. My childhood memories – locker rooms, football kits, uniforms, suits – became sites for transformation. Drawing from queer theory, camp, and the reclamation of slurs, I rework menswear into playful, defiant statements. Each look – BumBoy, Little Bent Kilt Dress, Football Fairy, Slutux, The 9-5Amr, Tracksuit Princess – reclaims shame with irony, humour, and power. The aim is to transform discomfort into glamour and repression into queer visibility and joy.

What materials, colours and techniques did you use in the creation of this collection?

The palette mirrors street menswear’s stiffness and minimalism – then flips it. Sexy satin stands in for performance fabrics, while pleated jersey snakeskin evokes tartan. Chantelle lace is set against heavy interlock canvas to explore softness versus structure. Drawing from Mary Queen of Scots, I incorporated ornate ruffs and regal silhouettes, balanced with functionality. A personal highlight is the “lipstick pocket” hidden in the cummerbund mini skirt (Slutux). Sustainability was key: I developed a biodegradable silicone “mother of pearl” shirt and tie at home for The 9-5Amr, fusing DIY experimentation with material innovation.

What’s next?

In the words of Britney Spears: “You better work, b*tch!” I’m diving straight in. While the fashion landscape is tough, I’m open to where this path takes me – with a few dream brands in mind. In the meantime, I’m working on a more commercially adaptable version of the collection, refining the branding and exploring collaborations beyond CSM. The side hustle is just getting started.

@masondtomsett

Joshua Cornwell, Essex, UK
BA in Fashion Design Womenswear
“Cinch”

What are the key inspirations behind this collection?

My collection is a queer retelling of the highly gendered landscape of my home county, Essex. It draws on memories of playing with my mother’s makeup and creating fantasy scenarios with Bratz dolls, capturing the awkwardness of teenhood and the exaggerated aesthetic codes of bodycon dresses, false nails, and fake tan. Cinch reflects on what it means to want to belong to something that doesn’t fully accept you. These youthful experiences still linger, and this collection brings them into adulthood — awkward, layered, and very much alive.

What materials, colours and techniques did you use in the creation of this collection?

The materials stem directly from my research into Essex’s “tacky” aesthetic: gold sequins, leopard print, snakeskin organza, and lip gloss pink nylon all feature prominently. These glossy surfaces are subverted through hand-painted textures — like leopard print applied using a beauty blender — and playful, tactile elements like paper-and-tape hair and Bratz doll-inspired skin-toned silk. The contrast between synthetic glamour and rough artisanal textures introduces tension and humour, challenging ideas of taste while celebrating the complexities of where I come from.

What’s next?

The industry’s unpredictability is what excites me. I’m keen to continue building my skills, whether that’s in ready-to-wear or something more experimental, like my work on the Artisanal Team at Maison Margiela under John Galliano. Interning at Balenciaga showed me how motivating a brilliant team can be — I want to be in that kind of collaborative, intense environment. But first: sleep, sunshine, and summer with my friends.

@joshuwacornwell

Doyeon Jeong, South Korea
BA in Fashion Design Womenswear
“Liberation”

What are the key inspirations behind this collection?

Liberation is rooted in personal memories and family history – especially my grandmother, who lived with restrictions that forced her to hide parts of herself. Her story inspired a desire to break cycles of silence and regret, and to express a longing for freedom. During my ten years studying fashion, I often felt trapped, believing it was the only path available to me. Unexpectedly, I discovered floral arrangement during this time, which gave me a sense of release I’d never known. This collection is about that feeling – liberation through nature, self-expression, and the courage to find happiness on your own terms.

What materials, colours and techniques did you use in the creation of this collection?

Origami flowers were a key element, woven into floral arrangements that informed both silhouette and structure. I used lightweight yet crisp materials like organza, jersey, and cotton to capture the sculptural sharpness of origami while remaining true to my belief that clothing should be light and comfortable. The prints and colour palette are taken directly from flower arrangements I created myself – translating the emotional clarity and beauty I found in nature into garments that evoke joy and quiet strength.

What’s next?

I’m not sure if I’ll continue in fashion, but this show was the first time I shared a message that felt truly meaningful – and that gave me a deep sense of fulfilment. Whether it’s through flowers or clothing, I hope to keep creating things that bring comfort and happiness to others.

@myotosisyeon

Sam Fisher, London, UK
BA in Fashion Design Menswear
“NO DRINK ON THE DANCEFLOOR”

What are the key inspirations behind this collection?

No Drink On The Dancefloor is a tribute to my relationship with dance and how it shaped me as a young man. Inspired by Northern Soul nights and my background in contemporary dance, the collection explores expression through the body, exposure, and the freedom found in movement. I was especially drawn to the way these spaces allowed young men to take up space – physically and emotionally – without inhibition. That energy feeds directly into the garments, which are designed to shift, sculpt, and distort as the body moves, capturing the dynamic rhythm of dance itself.

What materials, colours and techniques did you use in the creation of this collection?

I chose materials that either enhance motion or freeze it in time. Ultra-light chiffons catch air and exaggerate movement, while heavier tailoring fabrics swing and respond to the body in motion. To create structure and contrast, I treated cloth with wax and plaster finishes, freezing folds and creases like captured memories. I used chalk-washing to dust the garments, evoking talcum-powdered dance floors and years of wear. Nostalgic knitwear with kitschy references grounds the collection in its roots, blending warmth, memory, and gesture.

What’s next?

First, I’m taking a break to rest and reflect. Then, I’m planning to leave England – I’ve lived in London all my life, and while it’s home, I’m excited about the opportunity to live and work somewhere new. Wherever I go next, my goal is to deepen my technical skills and understanding of garment construction. I want to continue bringing my concepts to life with precision, refining my process and contributing meaningfully as I step into the industry.

@_s.fisher

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Sara Mikorey, Munich, Germany
BA Fashion Design with Communication
“Eigensinner”

What are the key inspirations behind this collection?

When you grow up exposed to violence with a body that doesn’t suggest any shelter except your mind, it’s an interesting mix of being seen as naive while being exceptionally present. Eigensinner explores the contradictions of girlhood — how sadness is more accepted than anger, though anger is often more justified. There needs to be space to be difficult, unapologetically. You can hide, but every disguise exposes a truth. Aggression, like laughter, is valid. This collection is a room carved out for chunky feelings — whether they show up as bulk or as a treat.

What materials, colours and techniques did you use in the creation of this collection?

My materials came from a trove of deadstock fabric from the 1970s to ’90s, discovered in a tucked-away London shop. The owner’s brother had been a fabric merchandiser, leaving behind what felt like a time capsule of colour and texture from an era suspended between mass production and home craft. I used these “cheap” fabrics in careful, almost precious ways. Folkloric techniques were mixed with vintage sportswear fabrics to reflect on the loss of folk culture in a globalised Europe. The world is full of overlooked materials that already carry stories — it’s magical to tell yours through them.

What’s next?

Solutions for today and tomorrow!

@serroit

Alona Cohen, Lausanne, Switzerland
BA Fashion Print
“Plurality”

What are the key inspirations behind this collection?

I wanted my collection to be a celebration of the plurality of Jewish culture. It revolves around the traditions and symbols of Sephardic and Middle Eastern Jewish communities. I was especially inspired by traditional forms of craftsmanship and the shared techniques that emerged between communities – a testament to cultural cohesion. Each painting and piece in the collection is a small tribute to these stories. The symbols I draw and adapt – like stars, the sun, the pomegranate, or the lion — carry that heritage forward.

What materials, colours and techniques did you use in the creation of this collection?

Sustainability is central to my work. I created textiles using natural dyes, and much of the collection is woven, hand-painted, or embroidered. All yarns and threads were dyed naturally with various plants. Most pieces feature one-off prints, either hand-painted directly on silk or printed using natural dye pastes developed with the help of Florence, a print technician at CSM. I also collaborated with Paulien Van den Brande in Belgium on the bags and trousers in look 5, Charlotte Gagliardi on weaving, and a young jewellery designer trained in nearly lost techniques of traditional Yemeni Jewish silversmithing.

What’s next?

I hope to continue painting and creating prints – whether for fashion or interior design. There are so many possibilities, and I’m excited to see what’s coming.

@alonanellycohen

Matthew David Andrews, Essex, UK
BA Fashion Womenswear
“The Venice of Essex”

What are the key inspirations behind this collection?

I was initially inspired by photographs of a real flood that occurred in my hometown of Wickford in 1958. I used this devastating event as a metaphor for growing up queer — drowning in fear of revealing my true self. A newspaper clipping from the community archive inspired the collection’s name and direction, reimagining the flood through a fantastical lens. The Venice of Essex conjured visions of Venetian Carnevale, and vintage images of the Wickford Carnival helped build a narrative that retells the flood story as if it unfolded on the day of the town’s carnival.

What materials, colours and techniques did you use in the creation of this collection?

Silhouettes grow larger and more windswept as the collection progresses, reflecting the rising flood. I used second-hand prom and wedding dresses sourced locally in Wickford as my base. Sublimation dyes were hand-painted and printed onto these upcycled materials. Childhood craft techniques inspired me to reuse the leftover paper in papier-mâché accessories and millinery, echoing the floats seen in carnival archives. A runway spectacle reveals my final message — as water drips from hats and hits the garments, a water-soluble textile dissolves to unveil hidden colours and prints: a symbolic unmasking of the real me.

What’s next?

I’d love to keep building my brand and creating experimental collections. I’m also excited by the idea of working at a major fashion house. A big dream of mine? One day becoming creative director of Moschino. But that’s the BIG big dream! Let’s see what happens.

@matthew.david.andrews

Lucy Gladders
BA Fashion Design Menswear
Untitled Collection

What are the key inspirations behind this collection?

This collection reflects my personal journey with spirituality and psychedelics, filtered through the lens of North East England and Brazilian subcultures. My connection to Brazil comes from lived experience and my relationship with my girlfriend, whose deep love for her heritage introduced me to a rich world of traditions and philosophies. Rather than claiming ownership, I’ve approached the project as a form of cultural dialogue – researching how cross-cultural exchange can spark creativity and transformation. The collection is divided into two parts: spirituality and psychedelia, and the visual language of Brazilian crias, seen through the lens of my own background.

What materials, colours and techniques did you use in the creation of this collection?

I worked with repurposed fabrics and old toiles, using transformation as both theme and method. Abstract prints channel the surreal vibrancy of psychedelic experience and urban life. Silhouettes draw from both the bold attitude of crias and the raw edge of chav style in the North East. These subcultures share a coded glamour and a strong sense of identity – crias, in particular, bring a distinct psychedelic quality that aligned with my vision. Techniques were selected to balance aesthetic value with narrative depth, creating pieces that merge symbolism, surrealism, and lived cultural reference.

What’s next?

I’d love to continue exploring design that blends the personal with the political, and the spiritual with the subcultural. Collaborating with artists, musicians, and creatives from different cultural backgrounds is something I feel passionate about – and I’m excited to keep building that dialogue.

@lucygladderss