For The People’s Choice Award this year, Fashanne have partnered up with the Victoria Centre, Nottingham in displaying all the finalists’ design images in a unit located on the upper mall. The showcase of the images will be open to the public in the lead up to the awards event in June. A date will be announced soon!
Please take a look at the finalists below and vote for your favourite using the form. There is 1 vote permitted per person. Voting will close on Monday 19th June at 5pm. The student with the most votes wins the People’s Choice Award to be announced at the live event on 22nd June.
5 lucky voters will be selected at random to win 2 x tickets to attend the Awards Event on 22nd June at St Mary’s Church, Nottingham. Get voting and good luck!
Aquatropics is a swim, surf, beach and activewear collection based on the nature found in Fuerteventura. The collection is centred around using sustainable practices and fabrics. The neoprene is Yulex: a natural rubber derived from the hevea tree. It is sourced from preserved reservations only, uses less water to produce than regular neoprene’s and it is cutting c02 emissions of one wetsuit, in production, by 80%. Another fabric used heavily within the collection is econyl which is made from plastic ocean debris. My collection consists of three abstract prints, designed to make the wearer stand out.
The project’s theme of camping and outdoor sports showcases the needs and preferences of active individuals who seek fashionable yet practical apparel. By embracing this theme, I have designed to tap into the growing trend of athleisure. Versatility, comfort, and aesthetic appeal seamlessly coexist. Initially inspired by camping and outdoor activities, this project dove into the details of functional garments and items. Looking into footwear for hardware; sportswear for fabric and tents, for the structure, ability to become compact and shapes created.
This project examines how the practice of colour is placed before theory. Inspired by Josef Albers’ book ‘Interaction of Colour’, I observed the application and placement of colour and how the placement of one colour against another can cause optical mixing within the human eye. Along with my technical processes, colour features as the most fundamental element to my designs. My innovative attitude towards knitwear, by hand dip-dying and printing, further explores the practice of colour by investigating the response of yarn fibres to the application of colour. Inspired by ski wear, sports trims and performance detailing. I produced a garment based on the idea of reverse ski wear. A ‘ski suit’ base layer, with the layering of a waterproof skirt and knit jumper.
Surrealism emerged as a new form of artistic expression during a time between two wars. It allowed artists to depict hidden emotions, dreams, and traumas, blurring the line between reality and the unreal. The movement provided a means for individuals to find their voices and freedom through art, especially for women artists. As we grow up, we tend to filter and censor our feelings to fit into society. However, primary feelings serve as an universal communication channel, transcending social barriers. In my collection, I explore the boundaries between real and unreal emotions, leaving room for interpretation.
The symbolism of a Band-Aid is the absence of harm, and the willingness to tolerate and stand by you in times of need. Because band-aids are used to wrap injured body parts, they can be associated with the human body and fabric while scars can be associated with tattooed culture. Band-Aids can cover scars and repair wounds, while clothing can cover private parts of the body or beautify imperfections. It is hoped that “Band-Aid ”will protect and heal the ‘wound’.
My concept is inspired by the behaviours I saw from people close to me during and post the pandemic lockdowns. From going out every chance we had as soon as the restrictions ended, to then going back to our normal, calmer, routines and appreciating hanging out in quiet spaces more than we used to. It was also inspired by when, during lockdown, unable to go shopping, I started looking at my mum’s wardrobe and her boxes of old clothes, and started, after buying my first sewing machine, playing about with upcycling some of the clothes I found in those boxes.
Thirteen holds a deeply personal and significant meaning to me. It is my lucky number, intricately woven into various aspects of my life. From the day of my birth, which coincidentally fell on a Friday the 13th, to the number assigned to my beloved sailing boat, it seems that 13 has followed me faithfully. Even beyond these instances, I find its presence in unexpected places, like my number plate and other meaningful identifiers. The recurring appearance of this number has forged a unique connection between me and the concept of luck. Drawing from these personal associations, I aim to explore the multifaceted connotations surrounding the number 13 in my project, delving into its rich symbolism and the contrasting notions of good and bad luck it embodies.
My concept is influenced by the rise of digital culture and breaking the barrier between our digital and physical worlds by recreating ourselves in virtual spaces. I aim to investigate the impact of technology on the formation of younger generations’ identities. The pandemic has accelerated the adoption of technology as a necessity and an escape, offering opportunities for individuals to experiment with extreme expressions of personal identity. Without external influences that shape identity, Generation Z has become their own creators, moulding personas that they use to represent themselves online.
Weare The Label is the destination for “aesthetically fluid” consumers. “We are” able to create room for exploration and realisation of personal styles. Our collections tailor product offering towards the feminine persona; however, we equally embrace and encourage all consumers who see fit with our brand to shop with us. Our latest collection Rodeo Racer explores multifunctional concepts. Sustainability innovation is integrated into all our operations. To create meaningful and long-lasting contributions to positive change, we implement creative solutions across the fashion cycle. Weare The Label’s goal is to attain total circularity, leading the fashion industry in sustainable business practises.
The inspiration behind my collection for Heaven by Marc Jacobs stems from the intriguing concept of layered realities and the innovative utilisation of CLO3d in fashion design. By embracing sustainability principles and capturing the essence of the digital metaverse trends, I aimed to infuse a distinct digital aura into Heaven by Marc Jacobs. I envisioned a metaverse store adorned with 3D digital garments, lending an immersive and futuristic touch to the brand. Technology played a pivotal role in shaping this collection, acting as a driving force behind its development. Moreover, I held a strong conviction in incorporating sustainable materials into the products I designed for Marc Jacobs, as environmental consciousness held immense significance to me.
The Happy Hour Edit is a diffusion collection for UK brand Oceanus. Venturing into outerwear, the collection maintains the brands highly beaded embellishment with playful summertime prints. Silhouettes follow Oceanus’ current successes to pay homage to the brands origins, as well as new staple and trend pieces to drive the ready-to-wear collection to market. Biodegradable, recycled, reused and zero waste values throughout both products and all packaging are enhanced by UK manufacture to reduce carbon footprint for UK retail.
‘222Styled’ is a fashion styling page dedicated to helping you curate your perfect capsule wardrobe. Our goal is to provide trend-based fashion inspiration whilst promoting sustainable, quality pieces. We believe in the power of fashion to make a statement, and are conscious of the sustainability issues within the fashion industry, therefore, we make considered decisions when deciding which brands to use in our work and collaborate with. We believe in the mantra “buy less, style more” our page is here to help you achieve these goals regardless of your existing wardrobe and how to shop for long lasting pieces. Working with Brands and Designers to ensure the Customer is fully informed of where and who prepared their personal purchase…
My project aim is to challenge women’s beauty standards and cultivate a space in which women are encouraged to feel comfortable in their own skin through Ideal. Ideal is a mock of a multi-faceted platform affirming women that they do not need to follow body ‘ideals’ and other beauty standards, as they are already ideal. Ideal consists of a magazine, website, app, Instagram and TikTok page, small clothing range and merchandise range, alongside branded packaging and labelling.
My idea revolves around incorporating LABELS with QR codes in all FAST FASHION garments. These QR codes, when scanned, would provide information about the individual who personally made the garment, including a video showcasing a typical day in their life. The primary aim is to emphasize the critical issue of inadequate wages in third-world countries, where many workers are not even receiving a living wage. Through my campaign, I aim to raise awareness that ‘when people know, they care’. By understanding the impact their purchases can have on improving someone’s quality of life, individuals are more likely to be willing to spend extra an extra couple of pounds on their clothing.
‘Welcome to The Artyverse’
Avant-Garde, hyper feminine and flamboyant sportswear inspired pieces, to make peace with inner queer child growing up and feeling alienated during sports.
The concept for my FMP points to maternity wear. I am the mother of my beautiful daughter. I got through the pregnancy. Changes in body size, shape, and weight are inevitable and happen to all pregnant women. Some pregnant woman carries a heavy physical, and mental burden as their body and mind undergo significant changes. Maternity clothing became a significant indicator of whether pregnant women could participate fully in society. Many pregnant women hid their ‘bump’ in public or withdrew from public places altogether. Women could not find maternity clothes that fit their style, and they had no choice but to reinvent “themselves” by wearing clothes they would not usually choose. When designing clothes for a pregnant woman, the most significant thing is to keep her sense of “fashion.”
Desert Ferrari is a streetwear concept brand and print collection inspired by 6 months placement in the Middle East. Blending elements of futuristic Dubai and rural Arabian heritage through exciting visual elements captures a new hybridity of Eastern and Western design. This project is influenced by my day-today sightings of automotive design, carpet craftsmanship and fluid calligraphy shapes. Designing with a sustainable approach to create timeless prints and innovative near field communication swing tag labels.
My concept is inspired by my father, who passed away before I was born. In a journey of self-discovery, I researched my dad’s history whilst working for John Smith Brewery, which has strong ties to my family, who have worked in various roles within the brewery. This project explores archives of imagery dating back to 1954, taking inspiration from my northern roots in my small town of Tadcaster. In addition, my collection draws inspiration from communities and their identities and explores themes that include uniform, industrial architecture, repetition/ order/function and traditional vintage menswear.
My concept is taken from my own childhood growing up as a young queer kid, taking inspiration from childlike ideas of femininity and masculinity (girl and boy). Looking into what I was experiencing at each age growing up, such as, what my parents dressed me in as a child, sportswear tropes from school, and finally looking into my own expression as a teenager. I also used second hand fabric, trimmings and buttons from family members passed down, linking back to collecting and using whatever I could find and was given to express my queer identity.
Inspired by the seaside scene of my hometown in the south China. I combined the costumes of fisherwomen and the memories of my childhood boxing suit craftsmanship in the form of the texture of a blue and purple knitted dress that I remembered. The project is about reflecting the decy memories of my childhood.
The Concept for this collection was based on an Industry competition. The brief was to create a 4th division for the cycling brand “Everything to Cycling”- (ETC) but to move away from their cycling gear and introduce a younger target audience that ride bikes, who are not cyclist, whilst still incorporating the brand ethos and values. I looked back at my childhood when I would go riding with parents and be amazed by the tyre tracks that would be left behind in wet mud. This fond memory inspired my design process for the new collection introduced to the brand (ETC).
My collection ‘City of Birds’ is inspired by the birds that live in the city. I was particularly interested in the variety of birds living in the city and the wild. i have always loved watching birds and am fascinated by the texture of their feathers and how they live. The collection incorporates contemporary clothing with a bird element. I wanted to draw attention to bird conservation. Expect to see flowing silhouettes in dark-toned coats with slim trousers in high-quality fabrics. The fabrics used in this collection are traditional tweed such as and fake hair
“God you look Amazing!” “What! Are you serious?” is based around looking into horror through a queer lens. Initial research was inspired by my mum in the 90s, how she dressed: how she was perceived. People would fear her as no one had seen someone dress the way she dressed where we lived. Similarly, outfits in queer clubs such as the Batcave / Blitz Club where ‘Outrageous’ and had never been seen before by public they were labelled ‘Horrifying’ even though they weren’t; they were just something new and not seen before. Element of the fear of the unknown inspired my collection.
The concept of my fmp looks at themes of comfort and protection. I am looking into things like skin as a form of protection, or a barrier. Barriers such as this has a fragile element to it, within my project I looked into fragility, and blending that with something stronger. I looked at barriers as a form or protection, like a safety blanket, instead of as a hindrance. My projects looks into themes of being enclosed, and being about to be comfortable with your own company.
My concept focus is on the everyday mans sacrifice to our leaders and how our suffering improves their livelihood and how I as a young designer want to push the narrative of the people taking control over their lives and what a purpose wants to be not what is given to us.
‘The Unrepeatables’ is motivated by mobile art which is invented by Alexander Calder, who wanted the paintings to float and move around. I captured the features of mobiles and incorporated them into shoe designs, as shoes compose the space like mobiles do but instead motored by human movement. I focused on refined shapes such as brush strokes, floating silhouettes, and wound wire details inspired by the Korean traditional shaking head pin (Ddeoljam). The title implies that the mobile work cannot be repeated in the same way due to their movement, replicating human life, therefore, each of them is unique.
My concept ‘Artisanal Heritage’ explores heritage and craft within a contemporary context, drawing inspiration from protected heritage sites across the UK and rural crafts on the HCA red list. The project aims to raise awareness of endangered crafts and inspire people to get involved in these traditional techniques. The project highlights the value of handmade items and their cultural significance, which is often overlooked in our fast-paced and mass-produced world. Artisanal Heritage showcases products that’s have a smaller carbon footprint and are made with ethical practises. With a focus on sustainability and social responsibility I wanted to use as many natural materials as possible.
The Design DNA of the project is combination of three keywords: Iditarod trail, Runway and Modularity. The shoe is inspired by the curved lines from the aerodynamics that represents the dynamism; the overall silhouette comes from a sled that expressed high speed and dynamic movement of the dogs that pull the sled. Moreover, the pattern on the gaiter takes influence from the texture of tracks that dogs and sleds make during the Iditarod trail race.
My work is based on the move from the office to home working and the changing surroundings that that brings with it. I have been trying to create an environment that is professional but has the warmth of home. I have used maps and landscapes to engage with the idea of translocation. The maps all have personal significance for me. They are places I have lived in and have a fond attachment too. This collection reflects the comfort required to feel safe and enclosed but also practically, to keep warm and address the issue of the cost of living and heating your house for longer.
The project and its inspirations strive to represent personal trauma and emotions, through the eyes of fashion, styling, colours and silhouettes that I have always been drawn to. The project was inspired by comparing my experience and overall life, as a queer person, in my home country, Bulgaria and in the United Kingdom. The idea started as a comparison between being somewhere, surrounded by people who love you, but you cannot fully be yourself and being in a country where no one knows you or loves you, but you have the full freedom to be who you are. For this project the hand, trying to get out of the body is the most important symbol. The hand is a metaphor for the queer person inside that is desperately hidden and tied, exhausted, to the point where it rips your belly to ‘‘come out’’.
The siren is temptress creature that is depicted in a form of a mermaid alluring sailors to their death Using a multimedia approach experimenting with fabric manipulation techniques such as princess pleating then using silicone to create a ‘wet look’ with repurposed fabric. I used this as a base to then embellish into using Wilcolm stitch designs, 3D beading techniques as well as iridescent beads that I created using resin. Other details include silicone webbing between the fingers and silicone to merge with the end of the arm, all these details emulate the dark fictional villain.
In a notion to protect our deteriorating ski landscapes from the consequences of the fashion industry, NT:2W’s mission was to create a product range inspired by the sentimental value held within the film photography of my family ski holidays. In addition to this, I explored utilitarian vintage ski wear and idyllic ski surroundings to inform my brands everlasting silhouettes and design details. NT:2W acknowledges the urgency to combat climate change and therefore sources 95% surplus materials whilst developing pioneering design details that will last. This comprises of waterproof quilting and organic branding placements (utilising ultrasonic welding machines) and magnetic fastenings that allow for detachable and interchangeable designs to last for generations to come.
My project concept is AFRO FUTURE. By making it more personal, I look into my past, present life and the future ahead. Inspiration was taken from my football background, African culture (colours, symbols etc), music, Afro futuristic graphics and Afro punk lifestyle. As knitwear menswear designer, I want people to feel unique when they wear my designs. Therefore, I combined different colours of yarns (starlight yarns, cotton, mohair etc) and different techniques. The techniques used in my collection are: macrame, punch card (ferra) on domestic machine, photoshop patterns for shima, Ripples, check and 2 colour blocks on Dubie machine.
DIGITAL TAKEOVER, using my childhood memories of enjoying retro games/digital screens while growing up and leading to my usage of digital screens today. Taking inspiration of my personal VHS. Using my childhood personal game cards like Pokémon & Yu-Gi-Oh that has inspired my colour palette. Background being born in New York moving to the UK when young with my games and toys. Streetwear elements influenced from my personal wear being like 90s New York Hip Hop. But of making a more retrofuturism interpretation using digital software’s and technological prints. Layering technology to represent my nostalgia through print and creating glitch texturise prints.
My collection is Be A Superhero, my Dad is my superhero and he has inspired me and the main is influence he’s had on me is my love for sport. Therefore, my concept is all about encouraging people to get into sport and enhance performance and enjoyment, my garments were created to make the user look like a superhero from the colour palette and figure-hugging bodysuits, but also feel like a superhero when participating in activity by having increased mobility to perform better and more freely as I believe all fashion should have function.
Duality is the combination of different, contrasting ideas and cultures, blending my own mixed heritage of Jamaican and British. A focal point of the collection is the freedom of expression in menswear, exploring how the different cultural norms has an effect on identity. Part of this explorations looks deeply into the relationship of religion and homosexuality expressed in Jamaican culture, and the fight against persecution for expressing yourself. Duality is designed to walk a fine line and find a middle ground that satisfies the traditional idea of what a man should be and what he wants to express himself as.
The focus of my collection looks closely at my personal heritage, Northumbrian and Scottish. It looks at how formal men’s fashion sits alongside working men’s attire. A big part of my collection, in both the concept and context, is the idea of buying garments that are worth mending them rather than disposing of them, hence the motto of my collection being “If it’s not worth Mending, it’s not worth Buying.” Within the manufacturing of my collection, I have made a conscious effort when sourcing fabrics for garment, using fabrics and yarns that are made in the UK.
My collection ‘City of Birds’ is inspired by the birds that live in the city. I was particularly interested in the variety of birds living in the city and the wild. i have always loved watching birds and am fascinated by the texture of their feathers and how they live. The collection incorporates contemporary clothing with a bird element. I wanted to draw attention to bird conservation. Expect to see flowing silhouettes in dark-toned coats with slim trousers in high-quality fabrics. The fabrics used in this collection are traditional tweed such as and fake hair.
At the intersection of queer safe spaces and military design aesthetics lies a surreal and dreamlike world, where masculinity, freedom, and desire blend together in a kaleidoscope of colours and patterns. In this world, the feeling of euphoria is palpable, and the energy is electric. The proposed final year BA knitwear collection consists of traditionally masculine pieces that are designed to be worn by individuals of any gender. Each piece is a work of art, reflecting the inclusivity and diversity of queer life whilst exploring the contrast between the freedom of the queer community and the regimented nature of military uniforms and design aesthetics.
“The Endless Loop” is a thought-provoking menswear fashion project that draws inspiration from the profound concept of the circle of life and death. This unique collection aims to celebrate the beautiful nature of existence, encouraging wearers to reflect on their journey through life and embrace the beauty of change and transformation. Yin and Yang: The project explores the duality between life and death, light and dark, through contrasting elements. Garments feature contrasting fabrics, textures, and pinstripes, symbolising the harmonious balance between opposing forces.
No Time To Waste Time’s design development process is established by the recognition of target audience, Generation Z’s, newly found admiration for secondhand consumption and determination to protect the future of our planet. NT:2W achieves this by sourcing 95% surplus materials, whilst taking inspiration from head designer, Scarlett Simpson’s, family film photography and the sentimental value held within utilitarian ski attire handed down from her mother. Pioneering design processes such as ultra-sonic welding allows for 100% waterproof quilting and subtle organic branding placements that will integrate seamlessly into every customer’s capsule wardrobe.
TEONE is a Scandinavian heritage-based digital fashion house. TEONE creates fashion statement pieces with inspiration for the physical world in the digital space. The first collection of TEONE will be inspired by the four elements – the new earth. The concept of innovation and sustainability creates a 16-piece collection to celebrate the non-existent waste and overproduction. This collection will be presented as an AR filter, an NFT and a meta mask. Teone is the next version of a fashion house that is inviting all consumers to create their digital identity through the collection.
Inspired by Swiss artist HR Giger I will create my collection from the aesthetic of his work and include materials such as heat bonded leather and delicate mesh creating a juxtaposition of beauty with in the grotesque. This will be a celebration of his work and a new innovated way to use leather.
Dystopian Future, Inspired by the negative impact of technology on our society. Footwear is an industry which has been heavily impacted within future technologies such as 3D printing shoes and Artificial intelligence to design the shoes. Within the excitement of this progression, there is also fear as these technologies could make humans obsolete. This juxtaposition between fear and excitement is what created the brand “Digital Cobbler’ for this project. A mix between using digital methods but mixing them with traditional methods to create a unique outcome.
Despite the life-changing enhancements AI can bring, people are now more afraid of it than ever before. A staggering 91% of Americans believe that it will do more harm than good. Many people are afraid that in the future AI will ‘watch’ and control them. Chicago University has already created an AI that can predict crimes yet to occur with 90% accuracy. Interestingly, Midjourney (a text-to-image artificial intelligence programme) consistently adds eyes to its pictures when they are re-rolled enough times – regardless of the initial prompt. Is Midjourney picking up on our fear by creating these eyes? Or does it feel that it’s being watched? My project explores these eyes through the perspective of an AI.
The increase of extreme weather climates and global warming suggests that humans will have to adapt to changing – but nature has. Ask Earth is a suggestive and conceptual, protective outwear collection situated in the innovation sector. Inspired by the adaptations ecosystems within extreme environments and how we can learn from these to provide technical solutions to risks we face as a result of the climate crisis. As we move to a warmer climate with the risk of more unpredictable weather, Ask Earth will provide textile solutions with a balance between aesthetic and function to cover all aspects of protection.
The two most important points of this collection: 1, Based on the concept of “respect for ecology and nature”, the collection fuses nature and fashion craftsmanship from the development of fabrics to the production of garments, allowing the raw materials to be presented in the most natural way. 2, Satirising people killing silkworms in their cocoons to get soft silk fabrics and silk garments.
The concept for my final major project embodies the beauty of feminine imperfection, turning the stereotypical ‘Grandma’s wardrobe’ garment into something expressive for the Gen Z generation to wear. The initial ideas for this project came from my own grandparents’ home where a photograph of vibrant sofa print caught my attention. Through mark making I was then able to translate this flat vintage print into my own knitwear interpretation. My womenswear collection juxtaposes itself with heavy knits and light, transparent lace. The techniques used include punchcard lace, Shima Jacquard, chunky knit and hand embroidery.
‘Skin is not just a mere covering for the body, but a highly sensitive and protective interface between our inner selves and the outer world.’ DERMA explores the concept of skin, its texture and protective functions drawing inspiration from both human skin as a form of armour and the earth’s multi-layered skin including rock, sand and clay.
I started this project by looking into the public and private selves, focusing on newspaper clippings my Grandma had kept from her time working at Beattie’s in Wolverhampton during the 1940s, she represents this idea of a public, well-respected woman. In contrast I looked at Nan Goldin’s photography where she often captured women at their most vulnerable and intimate – the private self. This then caused me to look into pairing knitwear with latexwear, synthetic hair, boning, latex inflatables and liquid latex, with the knit representing the public self and the latex representing the private self. What sort of woman wears knitwear? What sort of woman wears latex?
“Matriarchy Pre-Fall 2023” is an expression of a matriarchal woman. I looked at the past to explore important symbolism presentative of women. As many eras, as many interpretations are, whether we think of Nike of the Greeks, the powerful women of 80’s, the goddess of fertility or the beautiful and thunderous mother earth herself. These have been further translated through the medium of fashion. The ultimate goal here is to create my perspective of an eternal female. Throughout many eras, woman can be seen in many powerful forms. I have explored symbolism and sustainability through experimental fabrications.
For my collection I decided to explore depression and anxiety. My inspiration for the designs started with the round shape of jellyfish and the elongated flimsy kelp, which translates into the feeling of being trapped, tangled, and lost within itself or within other people thoughts and actions. The colour and fabrics were chosen regarding the concept and inspiration. My knitted and wool garments, in their green colours, bring that heaviness that we all feel when we have negative days. This collection was made for people looking for comfort and feeling understood with what they are going through.
When I look back at my childhood I think of long Autumn walks with my parents, across the common in muddy welly boots with the nip of the air touching on noses and keeping our cheeks rosy, red; with the promise that if ‘We make it up this hill’ we’ll get an orange at the end of it. Sitting on benches overlooking the valley, giggling at the rain, and watching the cattle cross our path. Whenever I miss home, I think of these moments with my sisters and my parents. These memories provoke an emotion that I display in my collection. Nothing is more important than home and knowing where home is.
Throughout history, decorative textiles (such as rugs, tapestries, and other traditional handcrafts) were a way to share politics, faith, and stories to create a tangible snapshot of civilisation at the time of the object’s creation. Raw materials used to make these objects, like wool, gain new monetary value and social importance through crafting and human alteration. My collection, titled “Upward Spiral”, is an investigation into antique textiles and describes the exponential and emotional expansion caused by the blending of such textiles with a pastoral visual language used by historic civilisations to create a textured, tangible, and heady mood.
The concept of this collection derives from the idea that people are constantly distancing themselves from being present and are subconsciously uncomfortable with their existence. Somewhere between the futuristic technology and comforting nostalgia, there must be a present feeling within us, and this feeling is what the collection aims to discover. Esme visualises her concept through the use of nostalgic imagery, soft, hazy colours, characterful motifs, intricate embellishment and silhouettes that re-imagine the classics. Not only does this collection aim to present an important message to others, it also enabled a personal journey to hopefully answer her own questions about existence in the present day.
This collection is inspired by my sister, Claudia, she was born with Angelman syndrome, a rare genetic condition that causes learning and physical disabilities. My sister has always been my inspiration throughout my life, she is the most genuine happiest person I know and even though her story is not the happiest, it is not one to regret, but one to celebrate. I was inspired by her innocence in colour and pattern, although she is 26 years old, her brain still approaches life as if she was 8 and that is the motto I took for this collection.
My collection ‘Nips all year round’ communicates the unpredictable weather the climate change has caused in our everyday life’s mainly focusing on the stereotypical British weather. This is an important current problem we are all facing making the collection personal for everyone. I have done this by researching into different items we use in different climates such as umbrellas, bikinis, towels and beachballs. I have then repurposed these items into my fabrication of my garments using patchwork to show the contrast between the different weathers as well as using second hand garments.
‘Drive Me Crazy ‘collection has been designed mechanically in collaboration with Porsche, predominantly the 911. With my concept elements of my designs have been manufactured in the same processes and have been made to mimic the structures alongside the interior and exterior colour palettes seen in Porsche. In my ethos, I set a goal to be as sustainable as possible which has resulted in a dedicated collection made from 100% reused, recycled, and repurposed materials. The considerations placed to maintain sustainability have been the focus in the manufacturing and developed the journey to showcase the potential Fashion design has in the future.
This project aims to keep physical and digital fashion content connected. Adapting to new advances within technology and using it to benefit customer consumption in a sustainable way. By supporting ethical and sustainable practices as collectives. Highlighting sustainability and supporting Brands through effective and clear marketing to make it easier for consumers to shop. Using sophisticated QR code technology. From just one scan customers can access knowledge on where is best to shop, both locally and nationally, ethically, and sustainably by being connected to digital advertisement within a digital Fashion Magazine. Making innovations in marketing for sustainable Fashion & Lifestyle brands.
“Matriarchy Pre-Fall 2023” is an expression of a matriarchal woman. I looked at the past to explore important symbolism presentative of women. As many eras, as many interpretations are, whether we think of Nike of the Greeks, the powerful women of 80’s, the goddess of fertility or the beautiful and thunderous mother earth herself.
These have been further translated through the medium of fashion. The ultimate goal here is to create my perspective of an eternal female.
Throughout many eras, woman can be seen in many powerful fo ms. I have explored
symbolism and sustainability through experimental fabrications.
TNF: An Exquisite Blend of Traditional Techniques and Sustainable Fashion. I am delighted to present TNF, my remarkable collection competing for the prestigious Fashion Sustainability Awards. Embracing the essence of sustainability, I have meticulously incorporated traditional plant-based dyeing methods, unveiling captivating textures and vibrant hues across the fabrics. Moreover, this exceptional assortment showcases meticulously crafted garments and bags, ingeniously woven from natural wool and linen fibres.
Pieces explores innovative garment design, inks, and zero-waste solutions to combat the ever-problematic fashion and textile industry. Statement prints have been designed to adorn multi-functional garments, designed to encourage conscious consuming. Garments can be adapted to suit numerous occasions and seasons, encouraging conscious consuming.
A sub collection, Piece by Piece, consists of zero waste fabric samples created using excess textile waste, using the crafty DIY heritage of punk and grunge style as inspiration. Everything has been designed considering sustainability, with the end of the garments life influencing material use to ensure ease of recycling, deconstruction, or biodegradability.
The main inspiration for my collection was inspired by Fibershed, a non-profit organisation launched by Rebecca Burgess in California that develops regional and land regenerating natural fibre and dye systems. With hubs around the world, the aim is to generate permanent systems of localised fibre and natural dye production. After spending two months at Fernhill Farm in Somerset, an eco-farm that practices Regenerative Agriculture as farming model, it quickly came to my attention that British Farmers are not paid a fair price for their fleeces. By incorporating Regenerative Agriculture as farming model this not only reduces the impacts of climate change by eliminating carbon emissions from importing wool but increases fibre quality and strength – promoting longevity and reducing the impacts of fabric degradation such as pilling.
Beginning this process, I had started by collecting images of realistic representations of the female body as I wanted to make a collection that would enable women to feel confident within themselves. I was interested in creating a collection that would take women on a journey to finding self-love, by highlighting the uniqueness of the female form through re-drawing these images I had collated references that I wanted to use within my designs to celebrate these often-overlooked characteristics. Busing these as a starting point for my design process and pattern cutting, I had built an asymmetric collection that would blur the lines between idealistic body types and create a space for all women.
Luminous Depths’ is inspired by the adaptations of sea species. Exploring the beauty of how unique and alien these sea species are. ‘More than 90% of the oceans species are stil undiscovered’ (National Geographic). Igniting imagination and fantasy through stitch and texture. Sustainability is at the forefront, researching key issues like plastic pollution and its deadly impact on marine life. Exploring ways to reuse fabric as well as recycling plastic waste with stitch. Taking inspiration from Japanese streetwear, with a focus on Harajuku and decora styles.
Taking nature back to its silhouette allows for a process led project with an aim to create interesting surface and texture. Relating the form of nature to the form of fabrics introduces a story of innovative surface. The Colour is pared back within the collection to create material focus as well as being environmentally conscious. Through breaking up image into line and using negative space, less ink is printed to reduce waste. Overprinting and overdyeing creates new shades with only one colour. Innovative print techniques are explored to create new surfaces and layering within the collection.
My collection explores the façade of glamour that is depicted in classic Hollywood films such as Vertigo, Gilda, and Rear Window. I researched the luxurious, unattainable characters that these films portray along with the destruction and ruin underneath. The themes of perception and appearances from Rear Window were fascinating. I was also drawn to the beautiful costume design by Edith Head. This research then led to a contrasting focus in utility and workwear, and I aimed to develop and present this mix of utility and opulence through a combination of fabric construction, colour, materials, and texture choices.
My concept for this collection, in my final year, is based around the eras 1960s and 1970s, taking inspiration from colour, pattern and fashion popular at the time. I am also taking inspiration from my surroundings such as nature and buildings. I am looking into 1960s/1970s architecture combining them with brutalism buildings. This is where I have gathered my inspiration for texture from, combining the two together; creating a new fresh, unique collection using techniques including screen print, Shima Seiki knit and Lazer engraving.
Poker has been a great source of inspiration for me. However, the emergence of gambling has marred the purity and beauty of the game. Although gambling can make poker exciting and addictive, it is like a demon hiding behind a gorgeous facade, which ruins the true essence of the game. That’s why I designed a poker culture concept costume that is related to gambling. The paper is the primary material used in poker cards, so my aim is to create the impression of a poker hand by folding the fabric, creating unique origami shapes, patterns, inserting pleats and folds for depth. The colour scheme of the costume is mainly red, blue, and black, which is also the colour scheme of poker. The contrast between these two colours is very strong and it fits the masculinity of the “king” card in poker. Nothing about this collection is subtle – all the detailing is specific and there for a reason…
My collection “The Observed” focuses on the gaze of judging eyes. I developed this concept after attending life drawing classes and contemplating the invasiveness of observing the naked body. It represents the most vulnerable and intimate version of ourselves, where all facades are stripped away. This led me to consider, what if this lack of safety and sense anxiety was constant, like society living under ‘Big Brother’ surveillance in George Orwell’s 1984, where even the home is bugged, there is no privacy, and a continual constriction of expression. I wanted to capture this unease in my collection.
Inspired by the peculiarities of Hieronymus Bosch’s “Garden of Earthly Delights” , my collection explores the mystery of the ‘unseen realm’: Perfection to Disruption, Peace to Corruption. The collection revolves around fantastical armour for the angels guarding the TREE OF LIFE. Alongside undergrowth, strange botanical florals and Fibonacci’s pattern in the Garden of Eden then digitally mutating into darkness. Working with bio and natural materials with the idea that everything is biodegradable and can return to the Garden it was forged in.
My collection explores the adventures of the coastline, revealing hidden mysteries through spiral shells and speckled glass reflecting the sunlight. Eroded strata and crumbling rocks foretelling the future of climate change. My work is often multi-disciplinary exploring texture, colour and sustainability. Targeting the artisan market promoting value and craftsmanship. My catwalk piece features digital embroidery, aquafilm and padloft seaweed motifs embellished with glass, beads, biomaterials, sand, shells and laser cut offcuts.
I have designed a women’s wear collection of 3 looks. The concept behind my collection is bad taste and the project name is “it’s so, bad it good !”. My collection is heavily printed with bright colours and my own clashing prints with I deem to be of bad taste. I looked at shapes and styles I deemed to be bad taste, and drew inspiration from 70’s music culture. I also began to think about clothes deemed bad taste within a modern society which led to look at animal print, puffer coats and revealing areas of the body.
My collection is called ‘the missing piece’ which is inspired by my nan, her brothers and sister, whom unfortunately had cancer. The illness seems to reoccur every ten years as one was diagnosed at 36, another at 46, 56, and 66. My great aunt, currently battling cancer was diagnosed 9 months ago and was informed she had six months to live. She is still fighting to this day due to having a positive outlook. I have explored methods such as dismantling to show the destruction of the disease and then reconstructing to show the strength and rebuilding oneself utilising tying methods.
My concept has come from my childhood, where I was brought up by as single mother and was constantly moving between different boroughs and council estates. Despite feeling claustrophobic throughout this period, my mother always took me to the beach and on walks, to escape from reality. I began seeing beauty in things around me and felt escapism through this beauty. This project is about finding beauty in the mundane as a form of escapism. I explore this through photographing the world around me, looking at photography of me as a child and visiting immersive and sensory experiences.
“Afterlife”. The Concept of Afterlife derives from the life of the Ancient Egyptian Pharaohs, it showcases one of the most important elements of life which is death. Egyptians prepared thoroughly for the Afterlife to live in an eternity of Paradise. My collections focus is to translate the concept of the Afterlife to our modern existence, which emphasises on many different aspects in life that create our identity. I have explored our connection to nature, technology, religion and human life via symbolism and colour connotations throughout my collection.
My theme comes from the fact that I have painted Chinese paintings for seven years, and among the works of Chinese painting, the Chinese painting of lotus has always been a subject of much national attention in painting. The lotus is loved by the world for its noble character and is regarded as a symbol of innocence and purity. Of the many different styles of lotus work, my favourite is the ink lotus because I think it is more atmospheric and I wanted to feel the mood of ink writing in women’s clothing.
I was inspired by the supernatural creatures in American Horror Story, such as vampires and witches. I think The end of the ashes is darkness, nothing. In this world, all people and things eventually turn to dust. Nothing lasts forever. That’s why I made ashes my title. My colour is mainly black. I use a lot of safety pins in my designs.
I specialised in Womenswear for my final major project, specifically researching the continuation of traditional gender roles in British rural communities, the romantic atmosphere of the countryside and the importance of practicality within clothing choices. The three interchangeable outfits from my capsule collection can be styled in a variety of ways depending on the wearer’s preferences. This was a crucial consideration while designing my collection since I wanted to appeal not just to the established rural women’s market, but also to extra metropolitan women’s markets who might be just weekend visitors to the countryside.
The two main keywords to describe my concept for FMP are Surrealism and Hybridity. I always have been questioning standardised aesthetics, and the very notion of surrealism, “The willingness to challenge imposed values and norms”, dragged me into re-identifying the values of uncanny and peculiar beauty in this project to be grafted onto fashion design. The idea of surrealism expands to Twisted glamour to find out the allure of the Uncanny by experimenting with the unexpected and unconventional hybrid to redefine the new genre of beautifulness.
I started my MFP thinking about my grandma and Vietnamese traditional women in the past. Despite having faced plenty of challenges, misogyny, and undervaluation, they continued to nurture their families and communities. This collection, entitled “Mothers”, also represents their aspiration for liberation from society’s outdated expectation, introducing a new chapter for all of them. I have created a juxtaposition of deconstruction and craftsmanship, luxury and sustainability, using high-end traditional materials, recycled waste fabric and dead stock tailor textiles. This sustainable demi- couture collection will highlight historical references and western tailoring elements to produce a strong, contemporary and edgy image of new women.