Fashanne 2025: Finalists

Rhianne Carrick
De Montfort University

This fashion design project merges the dynamic worlds of football and swimming, exploring the unique movement sof both sports. Inspired by my family’s encouragement of sports and the contrast between my siblings’ and my own athletic interests, I aim to blend the fluidity of swimming strokes with the power and agility of football manoeuvres. The project reimagines athletic performance and fabric’s interaction with the body, pushing boundaries with unexpected materials like waterproof, lightweight fabrics, breathable mesh, and high-performance polymers. The collection challenges traditional sportswear, offering a bold new perspective that enhances performance while celebrating the energy, grace, and strength of both sports.

Giselle Kandekore
De Montfort University

“Head 2 Toe” is a collection that creatively merges the style identities of me and my twin brother. He collects caps —the “head” — and favours casual denim sets, while I collect trainers — the “toe” — and live in relaxed tracksuits. This collection is our “2-for-1” — a twin-born fusion of streetwear and sportswear. Through creative use of shoelaces, snapback fastenings, mirrored silhouettes, and layered textures, each look balances ease, duality, and individuality. “Head 2 Toe” is a playful and personal exploration of our twin identity, reimagined as modern everyday wear that unites casual and active wear from top to bottom.

Katrina Plowman
De Montfort University

LOUNGE set me a brief to design a new collection. I chose swimwear and wanted it to be as sexy as their lingerie, makes all sizes feel inclusive and add to their cancer awareness portfolio all while being as sustainable as possible. The collection is called Siamese Swim as it was inspired by the Thai Siamese fighting fish as it is all about “fighting” cancer so there are subtle reminders to #feelyourbreast in the swimsuit to show you can check anywhere even at the beach.

Sumayah Sofia Richards
Nottingham Trent University

“Play Like a Girl” explores the challenges and stereotypes women face in sports, particularly football. The concept subverts outdated views of femininity in athletics, using hyper-feminine aesthetics as a form of empowerment. Inspired by the criticism women receive in sports, the collection turns negative stereotypes into bold design choices. It combines traditional sportswear techniques, performance fabric, and feminine silhouettes to allow movement, comfort, and style. This athleisure line challenges the notion of what it means to “play like a girl,” celebrating both strength and softness through a hyper-feminine, football-inspired perspective.

Scarlet Taylor
Nottingham Trent University

My concept delves into the fascinating intersection between a dystopian future and the imaginative past, situated within the landscape of the Alps. This exploration follows the journey of intrepid explorers as they venture into imagined future, navigating through a transformed alpine environment and discovering how time has reshaped these mountains. My collection draws upon an appreciation for both historical legacy and technological innovation, carefully examining how the aspirations and dreams of adventurers throughout different eras might manifest in a futuristic context. By juxtaposing traditional alpine styles and initiative with forward thinking perspectives, to create a narrative that bridges past achievements with future possibilities.

Holly Doyle
De Montfort University

Mother and Daughter Twinning Range: Re.Match for George ASDA
Re.Match is a new mother-and-daughter twinning brand launching exclusively at George Asda. It aligns with George’s focus on quality, style, and value, offering elevated basics that embody a sense of quiet luxury. Designed for families, Re.Match provides versatile, multifunctional pieces that facilitate layering and long-lasting wear. Sustainability is at the core, with circular design practices and innovative fabric choices. The collection also incorporates educational elements through in-store POS, labelling, and marketing. Re.Match celebrates the bond between parents and children, empowering them to express their personal style while promoting responsible fashion. Collaborations with influencers will further enhance brand awareness and engagement.

Lia Modha
De Montfort University

The concept of this collection is to launch a breast cancer range with George ASDA in collaboration with the Tickled Pink campaign. This S/S 26 collection will be specifically designed for women post-mastectomy, considering style, silhouette and fabrication. The garments in the collection will differ from normal womenswear through adaptive silhouettes that do not rely on shaping the bust and by designing garments that can be worn with and without prosthetics but still conceal the chest area. Alongside this, the fabrication of the garments will be carefully considered to be soft and comfortable against any scarring.

Katrina Plowman
De Montfort University

I wanted to create a brand that made women feel loved beyond the size they wear and their measurements at all occasions. I designed a bridal collection to capture each and every occasion.
The initial concept was the sole human body part we all have regardless of size, a heart. I looked into the intricacies of the veins and heart strings, finding beautiful patterns that inspired my garment decoration.
I wanted the exterior and interior to be beautiful and so have foiled, lasered and painted my branding as a subtle reminder that you are loved beyond measure.

Mimi Smith
De Montfort University

Mama Muse is a premium maternity rental wear brand offering stylish, occasion-ready pieces for modern mums-to-be. Designed for short-term use, our fashion-forward garments support a circular model that reduces waste and overconsumption. We empower women to feel confident and celebrated throughout pregnancy, without compromising on style or sustainability.

Maanyata Arora
Nottingham Trent University

The world of Haute couture- ready to wear, fuses the traditional hand stitched embroidery, a craft that is being practiced by the rural women of Bengal, India. The concept fuses the rich, contemporary and luxurious craftsmanship with Kantha’s handcrafted and traditional presence. Kantha, which is the art of running stitches and layering fabrics together will be re-conceptualised in a modern and contemporary way. The garments will embrace cultural heritage, artisanal and handcrafted touch with a luxurious twist, blending tradition with innovation. Layered garments which give a feel of warmth, which traditional Kantha quilts and coverlet represent that are also layered and mended together.

Mary Kershaw
Nottingham Trent University

My graduate collection ‘ocean escape’ aims to weave a fun childrenswear spring/summer collection that aims to promote sustainability to our future generations. My passion for beach holidays stemmed from my childhood travels around Europe, experiencing ocean life and the importance of protecting our Sealife. Ocean Escape tells the story of our sea life and how important the need for a sustainable change truly is. I am passionate to tell my story on and off the loom through the illustration of a children’s book as well as hand/digital woven fabrics.

Alice Craddock
De Montfort University

“Disarmed” explores themes of forced attachment, inspired by Caribbean sea-grape plants nailed to other tropical flora. Blending WWII military aesthetics with contemporary menswear, creating fashion textiles and accessories that reflect tension, control, manipulation, and innovative material exploration. Using responsibly sourced recycled leather from Aldridge Trimmings, a classic car interior trimming company. Utilising leather to screw and mould into place. Reconstructing to communicate historical influence.

Bradley Martin
De Montfort University

Exploring the ideas of growing up in a town shaped by masculinity and its tradition behind industry, I based my FMP, ‘This little heart of MINE’, around understanding and reclaiming Doncaster’s mining history and the masculinity that surrounds its culture. I utilised the dungaree buckle and through various sampling on both dubied and domestic machines, I implemented them into my knit, mixing both finer and thicker yarn types. By combining these yarn types with hard wear I was able to highlight the divide between the men I grew up around and looked up to, and the dilemma of not feeling ‘man enough’.

Conor Mears
De Montfort University

My collection “Cuff Links: Mod/ernity” explores the relationship between me and my dad, touching on the things we bonded over and great influence he’s had in shaping who I am. With my dad being a part of the Paul Weller loving mod revival movement in the 80s in southeast London his music taste was diverse and was a core memory of my childhood. it was only natural for the same music and style traits to become intertwined into my life. This project takes key aspects of the mod look and shapes them through the lens of a young boy trying on his dad’s wardrobe.

With my dad unfortunately passing earlier in the year a new tone is added as I begin to delve into how grief and mourning have affected the bond we had. a bond that was forever strong, is now not there. The slow process of grief and the tension of the unknown and fragile feelings is used as a driver as I reinterpret the mod look.

Marcel Wargocki
De Montfort University

“Through the noise” explores the idea of censorship, and the way one builds their perspective on surrounding us world while being directly influenced by the kind of information they have access to. Its narrative revolves around traditional menswear and its overpowering structural forms seen in Western Europe, as well as its widespread influence, which has long since sparked in me a sense of rebellion to defy it, and a will of search for alternative relationship between us and our clothing. This collection acts as a medium for allowing the nature of the textiles to take centre stage by embracing their movement and continuity through the use of considerate cutting and construction.

Katie Cooper
Nottingham Trent University

Men in Skirts

My graduate collection explores themes of how the skirt was originally made for a man looking into the kilt, armour, accident Greek clothing and so on. The skirt historically was seen as a display of strength for a man. This was interesting as within contemporary culture a man wearing a skirt would be seen as a taboo. I wanted to explore themes of gendered clothing and how we associate different clothing pieces with different genders. Through my collection I wanted to give men the avenue to explore different clothing styles and silhouettes.

George Light
Nottingham Trent University

My collection explores the interaction between androids and humans, examining how these two entities influence and manipulate each other in shaping visual concepts. Drawing inspiration from historical depictions of androids and how their perception has evolved over time, the project bridges the gap between past futuristic visions and our present reality.

My work envisions how androids might exist in today’s world, with a strong emphasis on metallic textures, patterns, and reflective surfaces. The colour palette is guided by the structured aesthetics of the grid and the influence of art movements, reinforcing the futuristic theme. Historically, androids have often been imagined as metallic beings, and this concept is central to my project, reinterpreting those classic visions through a contemporary lens.

Evie Morgan
Nottingham Trent University

My collection explores the intersection of contemporary menswear and 18th-century Rococo aesthetics, using fashion as a tool to critique power, privilege, and cultural decline. Drawing on themes of hedonism and historical excess, I reinterpret the ornate language of Rococo through modern tailoring & silhouettes, and surface embellishment. The collection reflects on the parallels between aristocratic patronage and today’s commodified creative industries, where access to art shaped by wealth. Through print, embroidery, and styling choices, I aim to tell a story that is both visually rich and politically resonant.

Ella Rostron
Nottingham Trent University

Rehabilitated Soul dissects how detrimental capitalism is to the working class, a system that traps people in society, controls how much money they have and who gets to be better off. Whilst these big companies gain under capitalisms reign, climate change worsens and the public are affected worse than ever before; heating bills increase for those trying to warm their home through a harsh winter, floods cause irreversible damage to homes causing a rise in homelessness. My collection takes the iconography of the capitalist suit and turns it into a visual protest, representing the trap we are in.

Molly Kennings
De Montfort University

The show pony collection fuses cowboy culture with modern glamour, inspired by Orville Peck’s bold, style. The modular harness, inspired by chaps, offers versatility for different looks. The handcrafted cowboy boot with leather sole and stacked heels nod to traditional western boot-making, while script on the soles gives a subtle cattle branding reference. Repurposed denim adds sustainability, and a classic cowboy feel, while the diamantes bring a runway feel. The result is a collection that blends rugged Western roots with a glamorous, customisable edge.

Jamie O’Grady
De Montfort University

This project is built on a body of research into watersports, specifically wakeskating, and translating their distinct sportswear features into a lifestyle context.

The water-draining abilities of water shoes have been reimagined as a ventilation system to keep the feet cool and dry. The vents, voids, and channels present are there for the purpose of maximising airflow.

The oceanic designs incorporate elements of the respiratory systems of aquatic life, their skeletons, and sleek watercraft.

The prototype is made entirely by hand, with the 3D printed tooling modelled in Gravity Sketch VR.

Harrison Read
De Montfort University

The Paperboy Project tells the story of how a childhood paper round ignited a passion for trainers and evolved into a career ambition in footwear design. Starting at 13, I learned life skills through hard work and saving to buy the latest trainers which were symbols of status and self-expression. This journey inspired a collection of 6 designs, each style representing a career milestone, from paperboy to CEO. This collection reflects personal growth, creativity, and ambition. It is a story of humble beginnings and the pursuit of turning passion into a profession.

Skye Wicks
De Montfort University

The Quagga is the bold fusion of the untamed spirit of rodeo and the elegance of high fashion, embodying the raw, often unseen side of rodeo culture. This design is shaped by the interplay of Rodeo, Runway, and Equilibrium, creating a heelless shoe that defies conventional expectations of footwear. The Quagga challenges traditional notions of comfort, emphasizing the tension between beauty and discomfort through its daring structure and sculptural form. By stripping back, the embellishments often associated with rodeo and fashion, the design highlights the unrefined, eroded essence of both worlds.

Evie Hensser
Nottingham Trent University

My collection, ‘The Saturday Club’, draws inspiration from the Bloomsbury Group—particularly the charm and character of Charleston House. It seeks to embody the essence of Traditional English Design while paying homage to Charleston’s distinctive eccentricity and rich decoration. Through a curated blend of compositions, the collection bridges the gap between conventional and contemporary, echoing the spirit of the Bloomsbury Group’s Friday Club. At its core, this collection celebrates a sense of community, shared creativity, and a deep appreciation for decorative design.

Holly Howarth
Nottingham Trent University

As a designer with a love for colour, pattern, and all things nostalgic, my collection ‘Silly and Sweet’ celebrates the joy and innocence of childhood, especially that Friday trip to the sweet shop after school! My collection draws inspiration from the playful patterns of my youth, such as stripes, polka dots, and lots of gingham! I also explore fun yet wearable accessories like oversized scrunchies and statement collars to blur the lines between childhood and adulthood, inviting everyone to reconnect with their inner child and spark a sense of nostalgia.

George Light
Nottingham Trent University

My collection explores the interaction between androids and humans, examining how these two entities influence and manipulate each other in shaping visual concepts. Drawing inspiration from historical depictions of androids and how their perception has evolved over time, the project bridges the gap between past futuristic visions and our present reality.

My work envisions how androids might exist in today’s world, with a strong emphasis on metallic textures, patterns, and reflective surfaces. The colour palette is guided by the structured aesthetics of the grid and the influence of art movements, reinforcing the futuristic theme. Historically, androids have often been imagined as metallic beings, and this concept is central to my project, reinterpreting those classic visions through a contemporary lens.

Rebecca McGlinchey
Nottingham Trent University

This children’s occasion wear collection draws inspiration from Irish folklore, reimagining ancient myths through contemporary embroidery. Each piece tells a story in stitch, blending digital techniques with delicate hand-finishing to honour tradition, while pushing innovation. Central to the collection is my children’s cape inspired by the story of “The Children of Lir”, featuring digitally embroidered Celtic knot feathers, hand-frayed to evoke themes of transformation. The collection features digital lacework, 3D floral embroidery, and Tambour beading to build richly layered, immersive textiles. Rooted in cultural preservation, the collection invites children to step into living stories shaped by heritage and imagination.

Errin Bonser
De Montfort University

My collection”Following my roots” highlights my experience of growing up mixed race, representing the surroundings, people, places and histories that have shaped who I am as a young woman of English, Indian and African heritage. My design explores the clash and integration of cultures and reflects on how I have held onto my heritage through objects and memories, especially the African memorabilia in my grandparents’ home and the connections between countryside life with modern subcultures.

As someone whose identity is often judged on my appearance, and all the stereotypical assumptions made on the basis of my skin and hair colour, I feel passionately about reclaiming this narrative through storytelling and texture in my knitwear designs. It is an expression of what’s beneath the surface – visually representing identity, displacement/migration and tradition and heritage through knit techniques, colour and design.

Calum Burton
De Montfort University

“I’m a boy, duh?” was my opportunity to challenge masculine stereotypes through silhouette and print. Drawing on inspiration from the masculine figures throughout my life, I wanted to challenge these personas and take the mick out of them by exaggerating proportions and injecting subtle feminine styles.

The emphasised proportions throughout my collection is a representation of the standards set by society and how they’re unrealistic for everyone to fit into the same mould

Rhianne Carrick
De Montfort University

This fashion design project merges the dynamic worlds of football and swimming, exploring the unique movement sof both sports. Inspired by my family’s encouragement of sports and the contrast between my siblings’ and my own athletic interests, I aim to blend the fluidity of swimming strokes with the power and agility of football manoeuvres. The project reimagines athletic performance and fabric’s interaction with the body, pushing boundaries with unexpected materials like waterproof, lightweight fabrics, breathable mesh, and high-performance polymers. The collection challenges traditional sportswear, offering a bold new perspective that enhances performance while celebrating the energy, grace, and strength of both sports.

Giselle Kandekore
De Montfort University

“Head 2 Toe” is a collection that creatively merges the style identities of me and my twin brother. He collects caps —the “head” — and favours casual denim sets, while I collect trainers — the “toe” — and live in relaxed tracksuits. This collection is our “2-for-1” — a twin-born fusion of streetwear and sportswear. Through creative use of shoelaces, snapback fastenings, mirrored silhouettes, and layered textures, each look balances ease, duality, and individuality. “Head 2 Toe” is a playful and personal exploration of our twin identity, reimagined as modern everyday wear that unites casual and active wear from top to bottom.

Imani Bernard
Nottingham Trent University 

This entire outfit showcases 3 products from my brand WEBROBE. The windbreaker jacket, detachable hood and parachute trousers are made using 100% polyester water repellent material. Both garments feature 4-pointed star motifs down the front or side to symbolise digital and cyber aesthetics, with invisible zip pockets and a drawstring feature on the waist for adjustability. Underneath the jacket is a cropped raglan sleeve top, finished with a large embroidered WEBDROBE logo on the front. All garments are inspired by retro futuristic gaming and the anticipation for the future of technology in the late 90s and early 2000s. In a world of advancing digital assets, WEBROBE evokes feelings of nostalgia, whilst also celebrating the future of Retail Technology – regarding major developments such as Artificial Intelligence and the ‘Gamification of Fashion’.

Maya Higgins
Nottingham Trent University

‘Back to Glenbrack’ is a menswear collection inspired by my family heritage. Glenbrack is my grandfather’s birthplace in Co. Galway on the west coast of Ireland. I have fond memories of Ireland through my grandfather’s storytelling and visits as a young child.

In this collection, I explored traditional workwear silhouettes whilst aiming to create a comforting collection through use of natural fibres and subtle textures. I have taken inspiration from old family photos and the natural landscape to inform colour and fabric choices.

Samantha Gillett-Jones
De Montfort University

Looking into the concept of parents having to ‘mourn’ their former child to accept their new identity as they come out as transgender, I wanted to play with this idea and look into mourning my former self as I awaited surgery for gender reassignment. Using the right wing talking point that these kinds of surgeries are just ‘mutilations’ I wanted to show the surgery as it is- brutal and beautiful. By embossing leather, creating my own staples, gilding floral designs and finding ways to join without sewing, I wanted this work to reflect the current way transgender people are viewed.

Mara James
De Montfort University

This project is an artistic exploration using fashion as a sculptural medium. Inspired by light and the flowing lines of a lightbulb filament, the collection focuses on visual impact rather than everyday wear. I designed garments with lines that wrap around the body, using sheer fabrics and wire casing, a traditional contour component, to build sculptural forms. Each piece treats the body as a canvas, combining contour construction with innovative design. The aim is to create something unique and memorable, and to leave the viewer with a sense of wonder.

Jamie O’Grady
De Montfort University

This project is built on a body of research into watersports, specifically wakeskating, and translating their distinct sportswear features into a lifestyle context.

The water-draining abilities of water shoes have been reimagined as a ventilation system to keep the feet cool and dry. The vents, voids, and channels present are there for the purpose of maximising airflow.

The oceanic designs incorporate elements of the respiratory systems of aquatic life, their skeletons, and sleek watercraft.

The prototype is made entirely by hand, with the 3D printed tooling modelled in Gravity Sketch VR.

Erika Eila Isangulova
Nottingham Trent University

My concept, Sculpted by Waves, is rooted in phenomenology, the study of lived experiences, and explores the sea as a metaphor for emotional depth and identity. Inspired by the ebb and flow of tides and how life leaves imprints on our consciousness, I translated these ideas into fluid silhouettes and textures. Through pleating, draping, and sculptural forms, I explored how memory and experience shape the self, much like waves shape the shore. Using pleated silk georgette, boning, and hand-beading, I combined structure with softness to embody the complexity and lightness of being, capturing movement, transformation, and the invisible marks we carry.

Lola Sanchez Montes
Nottingham Trent University

‘Inquisition into the subconscious’ is an immersive textiles collection that delves into the world of dreams, surrealism, and the inner workings of the human psyche. Inspired by vivid dream imagery and personal narratives, it combines layered digital and physical techniques to create ethereal aesthetics and otherworldly designs. The collection transitions from an exploration of dreamscapes to a personal exploration of my own dreams, made into visual narratives through the use of AI. Presented as an immersive installation, this project invites viewers to journey through a surreal landscape that questions the boundaries between fantasy and reality, provoking introspection and providing escape from reality.

Errin Bonser
De Montfort University

My collection “Following my roots” highlights my experience of growing up mixed race, representing the surroundings, people, places and histories that have shaped who I am as a young woman of English, Indian and African heritage. My design explores the clash and integration of cultures and reflects on how I have held onto my heritage through objects and memories, especially the African memorabilia in my grandparents’ home and the connections between countryside life with modern subcultures. As someone whose identity is often judged on my appearance, and all the stereotypical assumptions made on the basis of my skin and hair colour, I feel passionately about reclaiming this narrative through storytelling and texture in my knitwear designs. It is an expression of what’s beneath the surface – visually representing identity, displacement/migration and tradition and heritage through knit techniques, colour and design.

Megan Lester
De Montfort University

My work explores the tension between density and delicacy in knitwear, drawing inspiration from the textures and contrasts of urban environments. I am particularly influenced by the interplay of light and shadow in Brutalist architecture, which I translate into contemporary and dynamic knit samples. A key influence is architect Tadao Ando, who treats light as his final material, using it to fill empty spaces and evoke an appreciation for simplicity and nothingness. This philosophy resonates with my design aesthetic and has guided my exploration of subtle yet effective ways to translate both harsh and fragile structures into knitwear.

Bradley Martin
De Montfort University

Exploring the ideas of growing up in a town shaped by masculinity and its tradition behind industry, I based my FMP, ‘This little heart of MINE’, around understanding and reclaiming Doncaster’s mining history and the masculinity that surrounds its culture. I utilised the dungaree buckle and through various sampling on both dubied and domestic machines, I implemented them into my knit, mixing both finer and thicker yarn types. By combining these yarn types with hard wear I was able to highlight the divide between the men I grew up around and looked up to, and the dilemma of not feeling ‘man enough’.

Zoe Sammons
De Montfort University

Remnants of Elegance reinterprets traditional textiles with a modern approach, drawing inspiration from 19th-century fashion, lace and stately homes. By blending knit and crochet with vintage lace, leather and natural yarns, I created soft, intricate samples. I experimented with natural dyeing to reduce environmental impact and explored unconventional machinery techniques to enhance texture and structure. Materials were central to this project, including donated, deadstock and second-hand fibres such as cotton, silk, leather and paper. I also expanded my technical skillset, utilising Shima Apex Fiz design software and generative AI imagery through MidJourney to refine my designs.

Lucy George
Nottingham Trent University

‘Carded Threads’ explores the dynamic, rhythmic, and mechanical movements of machine components involved in yarn production. Through fragmented silhouettes and bursts of disruptive colour work, the collection translates these industrial motions into knitted forms. Specifically showcasing the interplay between repetitive, disruptive, circular, and linear motions. Visually communicating the significance of textile manufacturing, this theme is deeply rooted in my own upbringing, surrounded by operational yarn mills in Lancashire and recent first-hand experience immersed in the textile recycling process. Overall, this collection seeks to honour the craftsmanship and innovation of the textile industry while creating a dialogue between tradition and contemporary practice.

Mellissa Goswami
Nottingham Trent University

Rooted in my Assamese heritage, my final collection explores the intersection of tradition, identity, and rebellion. It challenges societal norms and patriarchal double standards that police women’s clothing, bodies, and behaviour. Drawing from personal experiences, I reclaim derogatory labels and celebrate the right to dress freely. Using traditional Indian textiles like the mekhela sador (traditional attire from the state of Assam, India), I contrast ideas of modesty and provocation to highlight the absurdity of moral judgment based on appearance. Inspired by the powerful symbolism of Kali, the collection embodies chaos, boldness, and liberation; celebrating female autonomy, self-expression, and unapologetic confidence.

Ernesta Palionytė
Nottingham Trent University

My final collection explores my heritage and immigrant experience in the UK, reflecting on the challenges of assimilation and the neglect of my roots. It bridges Lithuania’s rich cultural past with the present, reinterpreting traditional folk crafts and Baltic legends in a modern context. Inspired by ancient textiles, embroidery, knitwear, and mythical creatures, the collection blends contemporary design with traditional techniques. Using sustainable materials and minimalist aesthetics, it makes Lithuania’s vibrant craftsmanship relevant to today’s fashion. This project celebrates and preserves cultural identity, reimagining heritage in a way that resonates with modern audiences and deepens connection to the past.

Wong Hei Ting (Tiffany)
Nottingham Trent University

“The Tapestry of Identity & Sacrifice” is the theme of my final major project. This is a non-political project. As someone who opposes war yet recognizes its role in shaping our current advancements and cultural diversity, through this project and collection, I aim to highlight that without historical conflicts, our understanding of peace and chaos—and our evolution as a society—might not exist. I seek to honour the sacrifices of soldiers while reminding us – War has been a significant force shaping human progress, advancements, freedom, and identities throughout history, with each of these elements intricately linked to the complexities of conflict.

In this project, I aim to infuse my collection with a personal touch by incorporating my Hong Kong signature camouflage Jacquard design. This choice not only makes the project uniquely mine but also serves as a representation of my home, even from 5,941 miles away. Moreover, this FMP is a collection of design pieces that allow consumers to be able to style them in different ways sustainably and creatively, most importantly never gets bored of wearing these pieces that they own in their wardrobes.

Alice Craddock
De Montfort University

“Disarmed” explores themes of forced attachment, inspired by Caribbean sea-grape plants nailed to other tropical flora. Blending WWII military aesthetics with contemporary menswear, creating fashion textiles and accessories that reflect tension, control, manipulation, and innovative material exploration. Using responsibly sourced recycled leather from Aldridge Trimmings, a classic car interior trimming company.

Utilising leather to screw and mould into place. Reconstructing to communicate historical influence

Kaitlyn Joy
De Montfort University

My fashion collection ‘Float’ aims to raise awareness of the RNLI through utilising decommissioned kit and Hypalon waste from the boat manufacture industry. This collection is made using 100% waste materials. Throughout the design process I looked at 4 main areas: the history of the RNLI, the lives saved, the volunteers and the kit which protects them. The RNLI’s ‘Float to live’ campaign was especially meaningful for the development of my collection. I wanted to help promote water safety especially tailored to those in landlocked areas of the UK.

Malikah karim
De Montfort University

Remembering nature. A celebration of nature and textiles and its fight towards man. Focusing of how when man vs’s nature, nature will always triumph and the many benefits nature brings into life specifically the peace aligned with nature and the spiritual connections it holds. Industrialisation is prevalent in today’s date but the power of nature overrules always, as seen all around us. The importance of organic life is vast and sustainability is an important factor when celebrating natures beauty as the aim is to not further harm. The project is 100% environmentally friendly to bring a positive impact.

Isobel Millington
De Montfort University

‘STRENGTH BEYOND THE POM-POM’

My final collection of three looks inspired by cheerleading and how it is heavily overlooked as a sport.

LOOK 1 takes inspiration from the typical cheer mom who is the supportive protector of the team stating that cheerleading is not a bitchy sport like how it is perceived. The wrap around bow jacket and trousers is inspired by the supportive hugs given from cheer moms. The prints within this look take inspiration from the supportive hand connections and cheer chants within cheerleading. LOOK 2 takes inspiration from the typical cheerleader who gets back up again and keeps performing, even after an injury. This look is stating the hidden dangers within cheerleading and how it is one of the most skilful difficult and dangerous sports in the world. The wrap around bow top takes inspiration from a sling worn with a broken arm, to reference the many injuries which occur within cheerleading. The hairpin crochet panels laced on the skirt take inspiration from the hand connections within cheerleading, and how its these hands that hold up flyers and protect them from dangerous falls. Look 3 takes inspiration from the typical perfect cheerleader which people perceive all cheerleaders to be. A typical ‘IT GIRL’. This look is stating that cheerleaders must put on a show when they perform but that doesn’t mean they should be perceived as ‘IT GIRLS’ and be sexualised. From the bows to the heavy makeup, it’s all a part of the routine to PUT ON A SHOW. The structured corset for this look is layered with second hand cheerleading bows fastened together with zippers, to indicate how cheerleaders hold it together to put on this show, but underneath the layers they are just like anyone else and shouldn’t be perceived any differently. The chaps trousers take inspiration from cheerleading kits in how they are revealing with short skirts. However, this is to allow movement and flexibility during routines, and cheerleading shouldn’t be sexualised because of this. For my whole collection I wanted to be sustainable, therefore, I made my own fabrics from donated cheerleading kits and merchandise to thoroughly emphasise the incredible community of cheerleading on a deeper personal level. Cheerleading is also one of many sports which impacts the environment hugely. Therefore, I wanted to help prevent a lot of kits going to waste by upcycling them and making them into my own fabrics for my final collection.

Brodie Anderson
Nottingham Trent University

Titled ‘Through The Blackened Wind’, my womenswear collection is a visual and textural exploration of responsible design – showcasing the versatility of natural fibres and the diversity of colour that can be derived from organic matter. Emerging from themes of isolation and resilience, the collection draws from ‘The Weather Diaries’ series by photographers Cooper & Gorfer, which examines how the inescapable physicality of weather shapes creative expression among artists in West Nordic communities, amid the threats of climate change.

The regions profound environmental consciousness promotes resourcefulness as both a tool for self-sufficiency and cultural preservation in periods of adversity, which are principles that directly inform the material sourcing and development of my collection.

Cheuk Ying Jennifer Lai (Jennifer Lai)
Nottingham Trent University

This collection stems from the eastern Buddhist notion “Nothingness”. I came across this concept when I was going through a burnout from overwhelmed pressure and expectations, these made me started thinking: what is the point of all these desire, success or failures when we are not existing in a hundred years? “Nothingness” is a call for us to let things go and stay as it is, emphasizing the impermanence of human when compared to the ever-lasting time and nature. This oriental simplicity is expressed through the use of zero waste pattern cutting and stressing garment wearability via minimalistic design.

Ana Laura Modolo
Nottingham Trent University

My work weaves together storytelling and sustainability. I focus on craft-led approaches, such as hand-dyeing, fully-fashioning, and material exploration. Emotional durability is centre to my practice, creating knitwear that balances concept and care. The first garment in the collection showcases an exploration into circular fashion, being fully biodegradable – naturally dyed, animal fibers and avocado pit buttons. It sets the tone for the rest of the collection, which mainly relies on wool, while implementing thoughtful details such as swiss darning and selective natural dyes. Synthetics appear to aid fit and accessories, used in very small scale to meet project demands.

Ava Wolsey
Nottingham Trent University

Driven by emotionally durable design, this collection highlights the importance of forming sentimental connections with our wardrobes, inspired by the beauty of slow-made textiles. Influenced by calming environments and cherished summers spent in Italy, La Dolce Vita: Crafting the Art of Slow Living is a unisex fashion collection celebrating sustainability. Each piece is rich in texture and tactility, embracing the slow process of making to create garments that feel personal and timeless. Through narrative design, the collection expresses individuality and uniqueness, capturing my memories of Italy and encouraging a deeper emotional bond between the wearer and their clothing.

Lara Gembarska
Birmingham City University

Inspired by the British heritage and legacy of Vogue, this design is part of a wider woven collection that reflects Vogue’s timeless elegance and sophistication. Drawing from the magazine’s front covers and iconic typeface, multiple techniques were applied to create a woven illusion of Vogue covers and letters. This specific piece is created from combining my woven structures with graphic silhouettes of Vogue to create a collage design that has been translated into a carpet. Due to being unable to create illustrative design due to my warp threading plan I wanted to show this contrast in my design.

Felan Hogan
Birmingham City University

Re:Materials is a biodegradable material collection developed using waste streams from a retail environment—specifically, Selfridges stores.

Through iterative experimentation, I formulated a recipe using Carrageenan Kappa as a bio-binder, incorporating waste milk and paper to create entirely new composites. These materials were designed with real-world retail applications in mind, resulting in sample prototypes to meet high end retail standards and circular economy goals.

Sara Miah
Birmingham City University

This project is centred around sustainability and a circular lifestyle through ‘kantha’. A process originating from Bangladesh, revolving around re-purposing sarees worn down through wear and washing.

These yards of material are often layered and decorated with traditional motifs and imagery such as florals and swirling shapes, with a simple running stitch.

Throughout my work, I drew inspiration from florals that have symbolism in Bangladeshi culture. For example, the orange jasmine, used in traditional medicines and the water lily, the national flower.

I crafted my samples using saree fabric that we had at home, then visualised them into modernised fashion garments.

Lily Bronwen Hughes
De Montfort University

‘Immersed in Arcadia’ utilises drawing and hand screen printing to bring to life a bizzare fantasy land of never seen before curious creatures and ornate landscape that combine with off-beat colours to generate a collection of textiles. Incorporating both traditional and technical processes, this project explores the theme of escapism through maximalist designs, blurring the line between reverie and reality.

Elizabeth Osborne
De Montfort University

The concept behind Kaleido Archive draws inspiration from contemporary Tokyo—its billboards, pixelated visuals, bold graphics, and traditional nature symbols. I began by exploring the fusion of old and new Japanese elements through collage, with an initial focus on typography. My development involved layering collaged book imagery and my own artwork to refine the concept. Influenced by 1980s fashion and colour schemes, throughout this project I have been experimenting with unconventional materials such as latex and coated leather, aiming to transform them into even more unexpected forms.

Shannon Stafford-Adatia
De Montfort University

‘Mediterranean Musings’ explores the elegance of eighteenth-century Italian Baroque and Rococo villas located along the Mediterranean coast. These set the scene for this collection, inspiring both the aesthetic direction in addition to the project’s refined colour palette. This envisions a romantic Summer on the Italian coast, influenced by Torquato Tasso’s evocative love poem “Non sono in queste rive” (“Are Not in These Shores”) that visualises a shoreline surrounded by “roses and lilies” of “crimson” shades similar to the lips of his lover. I have intertwined the romance from this poem with the botanical abundance of these villas’ lush gardens.

Ellie Brown
Nottingham Trent University

‘Enfolded Realms’ is a womenswear fabric textile collection, consisting of a combination of textured surface prints and structured fabrics which showcase the complex elements that make up our identities. I challenge the overwhelming feelings of living in a fast-developing world in hope to reconnect with the textiles we own and produce. Evoking a sense of comfort and security; supported by the exploration of textured layers, sustainable fabrics and hand material processes; including bio-materials, laser cutting, fabric manipulation and hand embroidery.

Ines Congratel
Nottingham Trent University

Food has always shaped my identity, growing up in the French countryside with a chef father. Meals were more than nourishment; they were celebrations of heritage. My interiors textile collection, Hilaritas, meaning “Joie de Vivre”, draws on this joy. Focused on upholstery, wallpaper, and kitchenware, it evokes the warmth of shared meals. Inspired by food’s colours, textures, and emotional richness, the collection explores health, diversity, and sensory experience while embracing maximalism and tactility. Weaving is central to my practice, allowing texture and narrative to merge. Hilaritas captures the vitality of food and its power to connect, comfort, and celebrate life.

Charlotte Oliver
Nottingham Trent University

A connection to nature is within us all and creating that association through textiles can help us to appreciate not only nature’s beautiful detailing, but also to discover something deeper within ourselves. ‘When The Clock Strikes Thirteen’ is a collection inspired by the 1958 novel ‘Tom’s Midnight Garden’ by Philippa Pearce. My aim is to encourage the audience to recognise a deeper sense of self through the healing properties of nature and the whimsy of the garden, encapsulated within a luxury interiors and fashion collection. This collection contains biophilic imagery and nature inspired themes and motifs, and my use of Gothic Victorian styling looks to form something that is visually stimulating to the onlooker. My designs seek to bring the beauty and healing properties of nature to all, whilst also celebrating bespoke interior design pieces.

Amelia Frost
De Montfort University

My main inspiration for this collection was the milking parlour found at home on my family farm, Melsbury Farm, which also led me to look at the robotic parlour found at Worthy Farm, the site of Glastonbury Festival. I started exploring the different shapes, structures and colours found within a milking parlour through mixed media drawings, free machine embroidery and paintings. My aim was to design with contour flare whilst thinking about how it can be innovative, sustainable, and highlighting my primary inspiration of the milking parlour and milk. I developed a print from a primary imagery from the parlour, selected my lace due to its milk like appearance and my colour palette came from colours found within the parlour, even down to my elastic colour which it the same colour as the blue paper roll found in the parlour which we use to clean the udders and some of my metal hardware details have been created from parlour parts.

Anastasija Grigorjeva
De Montfort University

My brand is called Chernovik, which means ‘rough draft’ in russian language.

Held by the past, shaped by becoming. This outfit is designed by exploring the emotional weight of memory, identity and transformation.

The sculpted hands gripping the corset symbolise the parts of ourselves we can’t yet release – past selves, trauma, attachments. The leather structure represents protection and boundaries.

The concept of this design is about an unspoken war between who we were and who we are becoming – an unfinished draft just like Chernovik.

Lololi Ama Quashigah
De Montfort University

Moko Ni – meaning “somebody” in Ga – spotlights the value of Ghana’s “no-collar” workers, which includes market women, hawkers and others. Though they form the majority of the country’s workforce, they are often undervalued. This project reimagines them as professionals of equal status to white-collar workers. Research trips and interviews at Makola Market informed my print choices and garment construction. Merging utility and volume through pleats and repeats, the collection reflects the intensity of the marketplace. It challenges societal norms by presenting informal labourers as high-class professionals. Moko Ni is a personal, political, and cultural tribute to visibility, dignity, and the power of the informal economy.

Isabelle Ward
De Montfort University

‘Married Into Motorsport’ explores my personal experience of having a family which is heavily involved in motorsport. Having been bought up in this environment I have become increasingly been aware of the under representation of women within this male dominated industry. My sustainable collection aims to highlight and challenge the traditional stereotypes associated with motorsport by celebrating the strength of women in the sport by mixing unexpected fabric types such as my developed inner tube fabric and silhouettes. I drew inspiration from the contrast between hyper-masculine aesthetics of motorsport and delicate, powerful femininity represented by marriage, a union that represents a combination of both genders.

Maisie Bodington
Nottingham Trent University

My concept ‘Memories to Hold’ is rooted in my identity as a woman from a working-class family where creativity was a necessity, not a luxury. Growing up, I was surrounded by strong, resourceful women; when my mother and grandmother couldn’t afford to buy what they wanted, they made it. They taught me how to sew using whatever we had: scraps of fabric, worn out clothes, and old buttons. What started as a method to save money became a form of storytelling and self-expression.

Mako Kawada
Nottingham Trent University

Raised in a Japanese family yet never having resided in Japan, ‘Heritage Threads’ narrates an exploration of my personal identity, in honour of my Japanese heritage. Drawing inspiration from the rich heritage of Japanese textile techniques, the collection reimagines the elegance of traditional Japanese craftsmanship—such as shibori and kintsugi — in contemporary silhouettes and styles, reflecting the fusion of past and present in a cross-cultural tapestry. Incorporating traditional Japanese techniques such as boro patchworking, shibori dyeing, and creating texture to replicate the kintsugi technique, my design elements convey a subtle nod towards Japanese culture, for a modern audience.

Nicole Tikolo
Nottingham Trent University

Urembo wa Pwani (which is Swahili for ‘The beauty of the Coast’) is a fashion product collection inspired by my memories from family vacations at the Coastal side of Kenya; from the rich colours of the coast to the soft breezes, and the sweet flavours of madafu sipped under the sun. Featuring custom prints that take inspiration from some of these coastal elements to invoke the mood and the vibrancy of the Coast, this project not only celebrates these beautiful memories and the Coast of Kenya but appreciates the shape and curves of the plus-size/curvy woman through the design, style shape and silhouette of the garment.

Carla Wood
Nottingham Trent University

My collection, named “Over-Exposed” is a collection centred between themes of exploration, censorship and female empowerment. Inspired by pioneering women in hiking history, and a post-World War 2 plane that crashed in the Peak District, my work honours these forgotten moments in history and highlights issues which remain deeply relevant today. My design blends hardware influenced by the plane’s debris with deconstructed tailoring informed by how hiking women adapted their clothing. My concept’s muse is a naked lady that was painted on the plane before it crashed and is featured emerging from the back of the leather jacket.