Representing the creative future

The Masters: Craig Green

Craig Green's graduate collection

Please tell us about your collection.

I was looking a lot at the movie ‘The village of the damned’ (1960), so my collection was inspired by a lot of imagery from religion and cults, as well as looking at work wear and uniform.

How did you end up at CSM’s MA course?

I’ve been at CSM for 7 years now and started on the Foundation course wanting to be a portrait painter but somehow this ended up becoming a fashion.

Images courtesy of Craig Green

Did you always want to do fashion design? 

No, before I came to Central Saint Martins I’d never brought a fashion magazine and knew little to nothing about it.

Tell us about your time on MA. What was the most fun and what was the most difficult?

Every week of the MA had fun and difficult parts, all at the same time. So we could say that the entire thing was the most fun and most difficult thing I’ve ever done.

In your opinion, what skills you need to be fit for MA: technical, pattern cutting, organizational, thick skin or easy attitude? 

Of course, technical skills are vital, but I think what people underestimate is how important the attitude: personality and organization skills, is on the MA and also when you leave.

What would you recommend to BA students who want to apply for the MA course?

I never thought I would get on the course and luckily I was offered the place, so I guess its probably to have the guts to apply. I think there is a lot of scary and serious feeling around the Saint Martins MA and this deters people from applying.

Did you do any internships or work in the industry before?

Before the MA I have worked at Walter van Beirendonck and Henrik Vibskov.

What’s for the future?

I’m in a discussion about some exciting opportunities but at the moment I’m still open to suggestions.

1 Granary

Magazine Issue 6

With unprecedented honesty and depth, 1 Granary Issue 6 dives into the work and lives of fashion designers today. As a response to the construction of desire and personality cults that govern our industry, the magazine steps away from the conventional profiles and editorials, focussing instead on raw work and anonymous, unfiltered testimonies. For the first time ever, readers are given a truthful insight into the process, dreams, fears, hardships, and struggles of today’s creatives.

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