Representing the creative future

LCF MA 2024: A year of yearning

Discover the collections and sketchbooks of the LCF Class of 2024

A significant aspect of fashion storytelling involves crafting creations that ignite personal inspiration. This year’s group of London College of Fashion MA womenswear and menswear designers went back to their roots to create clothes for their future. Childhood memories and local myths are reimagined through new materials and a need for conscious making. Echoing throughout their work are representations of maternal figures, a reverence for quality craftsmanship, and a longing for childhood innocence. In their exploration, students delve into historical narratives, traditional crafts, and romanticised ideals with a notable emphasis on pattern-making experimentation – an approach that is warmly embraced by LCF.

We live in a time of yearning, as we collectively get more eager to relive past eras and this year’s LCF class reflects this cultural tendency as memory and traditional handcraft prevail across all the 2024 collections.

For this fashion week, the LCF Fashion MA didn’t do a catwalk.  “With the number of different designs and incredible calibre of work increasing year on year, we felt introducing a presentation format which would allow a way to combine elements of the runway, showroom and digital would give all designers a more equal platform for showcasing their work to visitors, press and industry,” Andrew Teverson, the head of London College of Fashion shared with us. In the inaugural graduate show at LCF’s new East Bank home, the emphasis was shifted towards facilitating direct interactions between students and industry professionals, providing a platform for them to articulate their concepts and processes firsthand, whilst offering a valuable opportunity to engage with the industry and to show their work in a more interactive and intimate setting.

In contemplating their future endeavours, there is a prevailing ambition among students to establish their brands while pursuing careers in fashion design. They all aspire to be catalysts of positive change, learn from the mistakes of the past and work for a better fashion landscape.



Georgia Gough 

‘WomensWork’ is more than clothing; it’s a journey delving into textile history, unearthing forgotten tales of women in the industry. From Scottish Witch trials to their modern exploitation Georgia Gough explores needlework’s roots as women’s work and seeks to reclaim its value.

Natural and recycled fibres shine in muted tones, with nods to nature’s blues and greens through Sashiko patchwork. Workwear references pay homage to the maker, while oversized coats reveal subtle iconography from witch trials.

Gough’s craftsmanship breathes new life into discarded materials from thread embroidery and 16th-century pockets, minimising waste and promoting longevity. Challenges arose in transitioning from maker to academic, but Gough aims to bridge this gap, addressing the issue of waste.

Post-graduation, Georgia envisions a slowness brand, promoting workshops and community engagement. It’s about valuing garments as lasting companions, fostering creativity, and affordability while advocating for ethical practices in the industry. Beyond a brand, it’s a call for inclusivity and collaboration, creating beauty with purpose for a more meaningful future.

Pun Pattanakulkumjorn

Born in Rayong, Thailand, Pun Pattanakulkumjorn journeys from commercial fashion to explore deeper meaning in his “Sook Sabai” collection. Inspired by the Thai concept of happiness and comfort, often overlooked in the pursuit of success, the collection urges the idea of ‘slowness’.

Challenging societal structures through ironic visuals and meme-like elements, the collection features oversized, slouchy silhouettes reminiscent of sleepwear, juxtaposed with rich textures and playful motifs. Organic cotton and denim create a casual feel, while unusual rubber spikes add a touch of subversion. Bold yellow pops throughout, sparking conversation and challenging expectations.

Transitioning from a commercially driven background, Pattanakulkumjorn faced the hurdle of embracing pure creativity. He also overcame the challenge of learning patternmaking and sewing from scratch, showcasing immense personal and professional growth.

Seeking a full-time design position in Europe, Pattanakulkumjorn hopes to gain knowledge and contribute to the industry. Ultimately, he aspires to become a creative director, advocating for ethical practices and a more appreciative fashion landscape.

Wenjing Liu

Wenjing Liu, based in Shenzhen, China, found her inspiration in the “Free Hugs” social campaign for her collection. The concept aims to address the emotional void created by social distancing, emphasizing the positive influence of human touch.

Through garments designed to offer warmth and emotional solace, particularly in solitary moments, Liu endeavours to combat feelings of loneliness and anxiety. Nylon and polyester serve as primary fabrics, supplemented by down and cotton fillings, with construction techniques drawn from quilted jackets and outdoor apparel. The colour palette, comprising low-saturation tones like khaki and beige, signifies tranquillity to foster emotional resonance.

Throughout her MA journey, Liu’s focus has centred on exploring sensory and emotional connections, striving to evoke similar sentiments in wearers. Her biggest challenge lay in experimenting with materials and techniques to authentically capture these connections, pushing boundaries to create apparel with a profound emotional impact.


Homesickness and a mother’s transformation into a nun fuel YOUWANGZHOU’s collection. He seeks to reconnect through fashion, bridging the gap between euphoria, motherhood, and Buddhism. His mother’s memories inspire bold “euphoria red,” redefining traditional Buddhist colour interpretations. Elastic fabrics and one-piece construction echo monk robes, minimizing waste. Boning adds structure and interactivity, reflecting rituals. Overcoming doubts about his designer identity, he aims for a bespoke brand. Though frustrated by colleagues leaving the industry, his hope and belief in his unique vision propel him forward, ready to embrace the future of fashion design.

Yige Zhou 

‘Unseen Echoes of Yesterday’ reimagines women’s attire free from patriarchal norms. Garments, crafted from waxed cotton and denim, feature “divine animal” silhouettes – the Sacred Bird nestled within. Symbolising unity with nature, urging women to be brave explorers and claim their space.

Midnight blue, icy blue, cream, and hints of red create a cool, natural palette but“It’s all about balance.” Yige Zhou admits she had to strike the right balance between focus points, detailed construction, and colour choices to avoid costume territory.

Post-graduation, the designer plans to gain experience in RTW brands while building her independent label. Yige Zhou aims to be part of the ready-to-wear industry but with a slower, more mindful approach.

Yuhan Ao 

Drawing deeply from nostalgia, Yuhan Ao’s collection finds its inspiration in London’s abandoned Euston underground station. Vintage posters line the walls, bearing the marks of time and fragmented memories. These remnants evoke a profound respect and curiosity, prompting exploration of this unforgettable experience.

His pieces predominantly feature papier-mâché, fine-spun wool, and Cotton Drill. Tailoring techniques and papier-mâché handling form the core of the collection, with colours primarily centred around black and white, accented by subtle blue stripes.

Ao’s journey through the MA posed significant challenges, particularly in tailoring and adapting traditional techniques, consuming considerable time and effort.

His post-graduation plans entail continued involvement in the fashion industry, balancing work for established brands with personal brand development. Despite an overall optimistic outlook, concerns linger regarding challenges related to visa issues and navigating job opportunities as a foreigner. However, the determination remains strong to overcome these obstacles and contribute meaningfully to the fashion landscape.

Jing Zhou 

Jing Zhou from China, draws inspiration from portrait photographer Paul Graham, particularly his ‘Mother’ series, which explores the emotional resonance of clothing. Her collection concept embarks on a journey from tranquillity to serenity, creating a symphony of calm whispers. Zhou primarily utilises nuts for braiding, employs indigo dyeing techniques, and incorporates a palette of blue and white colours in her designs.

Celeste Yuan 

Born in China and relocated to the United States in 2009, Celeste Yuan currently resides in both London and New York City. Her MA collection delves into the relationship between free pattern cutting and nonconformity in fashion. Inspired by this query, her exploration intersects emotional expression with fashion design through intuitive pattern creation. Utilising natural fabrics such as silk, leather, and wool, Yuan’s collection employs only intuitive pattern-making techniques, with a colour palette predominantly featuring red, black, and ivory.

Emily Saunders

Imposter syndrome is a common experience where individuals doubt their accomplishments, feeling like they haven’t truly earned their success through their efforts or skills. Emily Saunders, otherwise known more professionally as Emily Rose, explores exactly this in her collection.

Her pieces emphasise two key millinery techniques: brim wire addition and hat shaping through blocking, a process sponsored by Ken Peirson and Son, Luton. Saunders meticulously sourced materials, prioritising deadstock and eco-friendly fabrics from UK-based suppliers. Her colour palette, predominantly black and white with touches of blue for tranquillity, accentuates the focus on silhouette and form, fostering a sense of confidence in the wearer.

Despite financial constraints, self-doubt, and an ADHD diagnosis, Saunders persists in her craft post-graduation. She plans to deepen her collaboration with Luton’s craftsmanship, integrating blocking techniques into womenswear. She aims to support brands valuing craftsmanship, ethical labour, and small-scale production, advocating for inclusivity and appreciation in the fashion industry.

Mariia Pavlyk

Inspired by the Ukrainian Trypillia-Cucuteni civilization, Mariia Pavlyk’s collection ‘Spero’ uses pattern-cutting to tell its story, exploring Ukraine’s cultural roots spanning 6000 years. Weaving traditional Hutsul techniques and sustainable materials, the collection bridges historical craftsmanship with modern creativity, raising global awareness of Ukraine’s crafts. Pavlyk sourced fabrics exclusively from dead stocks in Prato, Italy, showcasing a commitment to sustainability. Despite challenges, including adjusting to new environments and travelling to Ukraine amid conflict, she remains dedicated to her craft.

After graduation, there are plans to establish production in Ukraine, contributing to the economy and supporting the army. While embracing the digital transition with mixed feelings, she sees its potential for the fashion industry’s irreversible change.

Yutin Yang 

Chinese designer, Yutin Yang focuses on celebrating Dong ethnic culture at the London Winter Festival, aiming to create a relaxed ambience where attendees can immerse themselves in Dong traditional culture fused with modern fashion. Drawing inspiration from London’s punk culture, Yang blends metal embellishments and knitting techniques into their designs, infusing Dong tradition with a contemporary global essence. Titled “Punked Tribal Resonance,” this collection injects vitality into Dong ethnic tradition while reflecting deeply on cultural identity.

Yutin combines its Dong ethnic identity into the project, ensuring its rich historical and cultural significance isn’t undermined. Materials such as nuts, eyelets, and metal knit yarn are sourced locally in London, complemented by sheepskin for warmth in winter. The integration of ethnic heritage into designs posed the challenge of requiring a thoughtful approach to maintaining cultural authenticity in London’s context. Post-graduation, she aspires to further explore the nexus between ethnic culture and global fashion, collaborating with traditional makers to preserve and rejuvenate traditional craftsmanship sustainably.

Yini Yuan

In response to the inspiration behind her collection, the Yini Yuan draws from the serene sensations of the sea, experienced during free diving. The concept revolves around capturing the tranquillity and strength of the ocean through the artistic method of composition in painting.

Utilising primarily denim fabric, washed denim overalls, and a palette dominated by grey hues, she conveys the essence of the ocean in her designs.

Post-graduation, Yuan focuses on translating her adeptness in painting into the realm of fashion design. Honing skills in print design, seeking internships with various brands with the ultimate goal of establishing her brand.

Taskin Goec 

Berlin-born and raised designer, Taskin Goec, presents a hybrid collection set in a technological swamp. Exploring the carnal romanticism of mixed realities, the designs feature combinations of pleating, fraying, and printing techniques. In the digital realm, these textures come to life through intricate cloth simulations and procedural node setups.

Zihao He

Zihao He, also known as Flowery draws inspiration from themes of gender, body, and identity, intertwined with self-exploration.

Titled “I AM A CONTAINER,” the concept symbolises Flowery’s perception of themselves as a vessel containing their gender, identity, and body. Their self-exploration journey, influenced by various cities and cultural backgrounds, shapes their identity.

The collection predominantly features delicate and transparent fabrics like silk chiffon and recycled mesh, often combined with worsted wool. With an interdisciplinary background, they infuse fine art and contemporary art into pattern production and clothing profile design. Their colour palette derives from their own body or skin tones, such as beige, black and white, light pink, and dark brown.

While pattern cutting posed a significant challenge during their MA, Flowery’s mentors encouraged them to innovate and develop their unique style. Post-graduation, Flowery plans to establish their own brand, aiming to integrate art and fashion to inspire self-reflection with others.

Baoxin Kou 

Baoxin Kou intertwines delicate yet assertive masculinity with the realms of competitive sports, military motifs, and intricate embroidery. Drawing from personal experiences as a female Taekwondo athlete, the collection delves into the essence of competitive sports, exploring their unique blend of sophistication and aggression. The designs meticulously blend patterns reminiscent of sports gauntlets, military insignias, and the alluring contours of the male form. Kou accentuates the graceful lines of muscular anatomy, whilst juxtaposing them with the rugged masculinity of sports padding.

Predominantly using Italian melton and wool fabrics, the collection displays luxury, further enhanced by the detail of 3-point metallic thread sourced from Japan. Post-graduation, her aspirations extend to making significant contributions as a designer within China’s menswear industry, with the ultimate goal of establishing her brand; one that embodies the fusion of masculine elegance and athletic prowess.

Ziqi Liao

Born in a small town in China, Ziqi Liao completed her undergraduate studies in Hangzhou. Inspired by British history, she developed an interest in armour after relocating to London, drawn by its significance in menswear. Viewing it as more than attire, she aimed to reintroduce its functional and aesthetic values. Her collection focuses on the masculine identity embodied in its silver-plated gear, reconnecting contemporary menswear with medieval elegance.

Exploring chivalry’s influence on men’s dress codes, she incorporated its tones and materials like ramie, linen, and wool into her designs. Despite challenges during postgraduate studies, including balancing ideals with reality, she’s committed to a fashion career. Currently interning at Ashley Williams, she finds joy in seeing her designs in wardrobes, despite industry concerns. Encouraged by embracing the world as it is, she remains determined to pursue her passion for fashion.

Lorenzo Piccoli 

Coming from Italy, Lorenzo Piccoli delves into movement and dynamism, rooted in the male form and reflected in artistic movements such as futurism. His collection aims to reinvent tailoring by blending traditional techniques with depictions of anatomy and innovative construction methods to enhance mobility. Linen serves as the primary fabric, complemented by metallic foil overlays. The designs employ a methodology of separate panels interconnected to form a solid sculptural structure, concealing kinetic elements within. This collection seeks to redefine tailoring, fusing craftsmanship with fluidity and the artistic essence of futurism.

Xiatong Zheng

Chinese designer, Xiatong Zheng named her collection Équus, inspired by the ergonomic design of saddles and it’s intricate leather manufacturing processes. This exploration, rooted in the symbiotic relationship between humans and horses, introduces a unique hypothesis: by situating a saddle on the human back, a distinct ‘external volume’ is formed, shaping the body’s contours.

Conscious of sustainability, authentic leather is chosen for its longevity, contributing to extended product lifecycles. Leather colours mimic those of saddles, spanning from tan to brown and black, facilitating rich layering and contrast. Leather moulding presents a technical challenge, addressed through innovative reinforcement techniques. The integration of 3D printing technology further pushes the boundaries of leather fashion, enabling sculptural and architectural silhouettes. Zheng’s journey through the MA Menswear programme inspires a deeper understanding of patterns, fabrics, and sustainability, guiding future explorations in digital design within the fashion industry.

Ziyao Zang 

Ziyao Zang’s collection draws inspiration from a conflicting experience: the clash between extravagant appearances and unsatisfactory tastes, sparked by a memorable meal at a Michelin-recommended Italian restaurant in the UK.

This conflict is linked to recipes from a 1970s French magazine, imitating luxurious food appearances despite targeting the working class, rooted in class tastes and historical events like the French Revolution. Cultural elements of the Rococo period, table etiquette development, and modern molecular gastronomy techniques merge into fashion design, influencing pattern cutting and textiles.

Materials include cotton, wool, synthetics, silks, and jacquards, sourced from diverse locations including London, Paris, Japan, and Shanghai. The project juxtaposes old with new, poor with rich, and traditional with non-traditional fabrics, crafting a menswear collection imbued with romanticism. The colour palette, inspired by Versailles and The Romance of Food, blends light and saturated tones from 18th-century French fashion.


Zhen Lyu 

Fashion isn’t always for the young and hip, at least it isn’t for Zhen Lyu. In Lyu’s collection, she explores the striking balance between identity, expression and functionality for fifty-year-old men. Utilising technical nylon, wool, and cotton jerseys, Lyu integrates sportswear functions into tailoring techniques. The palette features conservative colours such as black, navy, olive green, brown, and blue.

Yutong Zou 

Yutong Zou, from Beijing, China, unveils a collection spotlighting pattern-cutting innovation. Her designs expand the surface area to create negative space within menswear forms. The colour palette draws inspiration from various shades of grey, reflecting the nuanced hues found in shadows.

Jie Ni 

Ghosting is a colloquial term that describes the practice of suddenly ending all communication and avoiding contact with another person without any apparent explanation. This is exactly what Chinese designer, Jie Ni aims to convey in her collection. She explores the intriguing dynamic where individuals consciously project body language conflicting with their true feelings.

Through a captivating blend of photography and garment design, the concept delves into the complex realm of male emotional expression. Wool and silk fabrics, adorned with multicoloured printing techniques, serve as mediums for this exploration, unveiling the intricate dance between emotional concealment and revelation. As the collection unfolds, it reveals the paradoxical interplay between suppressed emotions and outward presentation, inviting viewers to ponder the intricate layers of human experience.

Saule Gradeckaite

Lithuanian designer, Saule Gradeckaite presents her thought-provoking collection, ‘Howdy’, challenging the image of a cowboy’s authenticity.

Featuring a sculptural layer of deformed human body bones belted onto garments, the collection symbolises the static cowboy archetype juxtaposed with evolving wardrobe elements. The leather belting reflects the cowboy’s enduring yet changeable persona. Materials include denim, leather, and cotton-based fabrics, while techniques show denim and leather craftsmanship, alongside sculptural casting.

Post-graduation, Gradeckaite contemplates a Ph.D., focusing on sculpting and performance in fashion. However, the saturated industry poses frustrations, especially for young designers with limited budgets, making it challenging to stand out and achieve profitability.

Xiangxiang Li

Chinese designer, Xiangxiang Li found inspiration in a folklore legend. Her ‘Feather for Sugar’ collection introduces a novel pattern-cutting approach, merging pleating techniques to harmonise garments crafted from diverse fabric weights.

She conveys the tale of merchants who balanced different goods on shoulder yokes, just as varying fabric weights affect garment balance, meticulous volume and weight control ensure equilibrium with the wearer’s body. With sustainability taken into account, this innovative pattern-cutting method minimises waste, as cotton fabrics form the core materials, while design and colour techniques emphasise visual balance and zero waste reinforcing the concept of equilibrium.

Yuqi Zeng

Yuqi Zeng’s collection seeks to translate the essence of a garden onto the male form, intertwining floral motifs with structured silhouettes and functional design. Inspired by the timeless allure of tulips, each piece embodies the delicate yet robust nature of these blooms, evoking an understated yet refined masculinity.

Zeng has meticulously curated silk blends and other lightweight fabrics to capture the ethereal quality of tulip petals, while colour palettes transition seamlessly from vibrant hues to earthy tones, mirroring the flower’s life cycle.

While the creative journey was filled with challenges, particularly in navigating collaborations, the result speaks volumes of the harmonious blend of talent and vision. Looking into the future, Zeng envisions staying rooted in London’s vibrant fashion scene, whilst exploring collaborative projects to push the boundaries of menswear design with floral-inspired innovations.

Qiong Zhang 

Qiong Zhang’s, ‘GREED’, was an exploration of the concept of greed and its impact on human desires.

She utilises a bleeding method symbolising growth, forming the basis for print and pattern-cutting techniques across various fabrications. Zhang’s materials include recycled nylon, cotton, viscose, and goose down, while digital printing techniques were used for the entire collection, showcasing vibrant hues such as green, orange, pink, blue, and burgundy.

Looking towards future aspirations, Zhang wants to pursue a career in luxury fashion design, with eventual dreams of establishing a brand.