Representing the creative future

The Fashion Graduate Diplomas: Mayya Agaevaa

As ‘real connections’ in our society are often replaced by those on social media, Graduate Diploma in Fashion student Mayya Agaevaa argues how we can go against the grain of what has become a second nature. Is a slow, steady evolution of thought in the making, and are we increasingly getting tired of the continuous ‘liking’, ‘loving’, ‘sharing’? It appears to be the case. Tully Arnot made an art work last year — which can now be seen in the Degree Show Two — that shows a finger mechanically clicking the button of approval on Tinder; a clever critique on our ‘social’ activities that many can relate to, and — even if just for a second — make the viewer rethink his/her subconscious habits.


Can you point out one good memory of this year spent at Central Saint Martins? 

A good memory was when I made my friend pretend that she was a pigeon, for one of my projects.

What was the main inspiration for your graduate collection?

My inspiration came from the crowds of people in the tube who were only looking at their phones. We don’t have a ‘real connection’, but we have Facebook, Instagram, Twitter… Digital revolution has a massive influence on everybody. This collection is about losing your identity in the digital world. There is so much information, but hardly anything is useful. Media destroys our minds, which reflects on our identities. We are all part of the system which destroys us; we need to learn how to control the system and to not let it control everything.

Did your vision or way of working change?

Yes, a lot, I think my work has become much more sensitive and personal.

What makes your work stand out? 

The energy and color combinations.

What’s your favorite part of the designing process? 

Every part is exiting but I particularly like the research and the concept development.

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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