As a heady mix of 80s classics, ringtones, Azealia Banks and spoken word blasted across a great hall in Central Saint Martins, fashion legend Zandra Rhodes sat just inches away from a veiled @dalstonsuperstoned, the latter at one point making out with a model covered in cigarette butts. This intriguing chaos signposted an eclectic BA graduate show where 141 final year students showcased their individual collections. Covering everything from motorcycle crashes to sci-fi movies to voodoo to chocolate, one common thread was the implication that the next crop leaving the university and going out into the world are set to be some of the most subversive and innovative yet.
Central Saint Martins has a long established reputation for being the university where the talents of some of the world’s most iconic and respected fashion designers were first nurtured — from Alexander McQueen and Phoebe Philo to Christopher Kane and Matty Bovan. Last night’s BA show hinted at a continuation of that legacy. The young graduate designers of 2023 were seemingly more personal than ever, with garments adorned with paintings of their family members, imbued with traumatic experiences they’d recently been grappling with or unapologetically showcasing every facet of their identities.
Unsurprising for a class of 2023, sustainability, repurposing and upcycling also played a massive role in many of the collections — particularly so in the winner of this year’s Loreal Paris Award, Eden Tan. His jaw-dropping pieces, all left uncut from their rolls of fabric, meaning they could either be rolled back up or be turned into pieces with metres upon metres of trains, were the finale to a show filled with incredibly promising talent set to reimagine the boundaries of the fashion world. Here, we chat to a handful of our favourite collections from this year’s offering about their work, their influences and what’s next for them.
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Eden Tan
How would you introduce your collection?
The motivation of the collection was the possibility of making clothes which could be as easily reprocessed into new garments as if the fabric had never passed through my hands. Trying to preserve the integrity of the fabric as it came off the roll created the project’s golden rule: no off cuts! This meant developing an arsenal of techniques with the purpose of convincing the eye that what it’s seeing is more than just a roll of fabric. On Borrowed Fabric starts the materials on their journey from creation to obsolesces to recreation.
Who do you see wearing it and where?
Other than accidentally creating a muse from my friend, model and collaborator Kyal, I haven’t thought too much about who would wear the clothes. Instead, I have been thinking about the garments as artifacts in their own right. Since the garments can be un-buttoned and displayed flat, their existence doesn’t seem to depend on human inhabitants.
What was the most challenging part of creating this collection?
The most challenging part of the collection has also an integral part: working out how to make believable clothes without using traditional pattern cutting and sewing. That, and the and constant rolling and unrolling of fabric.
What do you plan on doing next?
For the time being it will be to clear the backlog of other ideas which had to go on hold whilst finishing the collection!
Ivan Delogu
How would you introduce your collection?
My collection is somewhat autobiographical, drawing from my experience of leaving my native island, and focuses on themes such as belonging, feminism, popular culture and poetry. I’ve always been drawn to the idea of transforming humble materials into something very refined. To achieve this, I decided to use a variety of upcycled materials, including 70s mosquito curtains (that are usually found in southern Italy fish and meat markets), four cereal bowls, almost two metres of garden fence netting, seaweed, roughly 10km of deadstock shirt yarn, and even a horseshoe! The ancient agro-pastoral tradition of my region and my childhood memories of growing up in the Barbagia area were the foundation of my work and, by creating characters that represent different aspects of womanhood, I hope to showcase the diversity and complexity of women’s experiences in Sardinia and beyond.
Who do you see wearing it and where?
People who are confident with their roots. I want my audience to have a sense of pride and power while wearing my sculptural pieces. For instance Zendaya or Adut Akech would both look stunning wearing these pieces at the next Met Gala.
Name three things that were on your moodboard.
Birgit Jürgessen’s conceptual work, “Madri e Costruttori” by Sardinian artist Costantino Nivola and traditional household objects found at my grandma’s house.
What was the most challenging part of creating this collection?
It feels like literally giving birth, and has been a journey filled with different stages — from the initial spark of inspiration to the long, and sometimes painful, process of bringing it to life. Every step of the way, I’ve had to make mindful and intentional choices to protect and nurture my vision, and it’s taken an incredible amount of energy to get here. Surely working out how to weave the curtain textile to create my prints as well as adapting it to fit a human body has been one of the most difficult parts. But despite the challenges, it’s been the most romantic journey I’ve ever embarked on.
Catherine Meyong
How would you introduce your collection?
This collection is a visual analysis of the western concept of blackness. The research journey started with looking at how dehumanisation of Black people and the demonisation of west African spirituality were used as tools of oppression. These were tools crucial to the colonisation of the African continent and are prevalent to this day in western society and across the globe. I looked at colonial uniforms and used them as a basis of my visual research. I used upcycled leather remnants from upholstery, thrifted fur coats and dead stock fur. I bought horns from antique collectors and real wings from ethical taxidermists I found in Facebook groups. The animal parts I am using are meant to question the demonisation of black religions such as Haitian Voodoo and Beninese vodun — to name a few — by referencing animal offerings that take part during certain ceremonies. It is meant to question why religious animal offerings are denounced while mass farming under extremely cruel conditions is widely accepted in The West.
This whole collection is aiming to make you feel uncomfortable. I want people to look at it and ask themselves, why do I feel discomfort when looking at horns and wings but still go home and enjoy my chicken burger.
Who do you see wearing it and where?
Rihanna at her second baby’s first birthday party.
What’s your favourite look and why?
My favourite look is my last one with the horn bra and upcycled fur. It’s sexy, somewhat wearable, and describes my concept to a T.
What was the most challenging part of creating this collection?
The most challenging part was financing the collection including models, but also working with upcycled leathers. You never know what you get when you buy dead stock, upholstery, leather remnants and upcycle thrifted garments. In order to make them work, you have to find your materials before you start the design process. Once you have your materials gathered, then you start designing from your stock. It is almost like designing backwards. Also a lot of the materials are damaged, smell really bad or have other issues that you have to work with.
Clover Nash
How would you introduce your collection?
Family. Born from the pages of a picture book, here to nurture the sickly child within. Sounds like steel pans in the Caribbean sun. Smells like morning dew in the English countryside. It’d greet you with a tight hug and a kiss on the cheek. It knows who you have a crush on at school and it’s very supportive of your life choices, as long as you’re happy.
Who do you see wearing it and where?
Anyone with a childlike sense of wonder going anywhere fun. Maybe an artist at a gala or a performer at a child’s birthday party or me going to the park for a picnic.
Name three things that were on your moodboard.
Gnomes, Babushka Baba Yaga by Patricia Polacco, and old pictures of my grandad Rocky (who was funnily enough in i-D for Victoria Beckham’s 40th birthday shoot, he was a very cool grandad).
What’s your favourite look and why?
Look 4 with the big yellow skirt – though that may just be because I got my mum to model it. Overall it’s the most sentimental one. With the combination of the loud yellows, the wide silhouette, and the portraits of my grandparents, it feels like sunshine to me.
TJ Finley
How would you introduce your collection?
FAGS FORKING THE RICH is a collection that’s consists of vulgar lanague and materials that push forward animalstic emotions. It’s inspired by my working class background and queerness. I wanted to analyse the emotions of my identity and make garments that consist of materials that play on words within the title. For example, fag butts fabric and crushed and manipulated forks sculpted into a corset. It was very important for me to not be polite, be honest and be raw, unhinge my self as a product of the experiences I and my peers have to face due to just surviving and living.
Who do you see wearing it and where?
I think it’s very important today to not design for the popular culture of identity and celebrities. Let’s face it, the celebrity world isn’t really doing anything special with fashion… so I don’t really have anyone in mind. Maybe I’ll just prance around the streets with cigarette fabric dresses screaming my spoken word!
Name three things that were on your moodboard.
Cig butts, an abandoned windmill I see everyday from my bedroom window (it’s gorgeous! The colours and textures are amazing!), and spoken word written by me.
Your favourite look and why?
The cig dress and skirt! It’s beautiful but also so vulgar. It was a moment when I literally felt the dots align! The whole fabric is a performance from the way I collected the butts off the floor to the way it moves on the body and model.
Mathew Zabala
How would you introduce your collection?
My collection, The Break, was actually inspired by a motorcycle accident I got into a while back. In my recovery process, I became fascinated by the function of protective gear and the motorcycle aesthetic. I looked into 3D-printed casts (the moulded bodysuits that are used to ensure the body is protected) and motorcycle gear generally. A huge part of this collection is its function and moldability, so I looked at the movement of the garment and how it impacts accessibility. I’d say it’s my romanticisation of how functional sportswear fuses with high fashion.
Who do you see wearing it and where?
Generally, the collection is an exploration of what the new age guy is and how he presents himself. I design with characters in mind so I’ve envisioned these different versions of guys that would be so confident in their masculinity that they’re not afraid to be, or come across as, feminine – he just looks ‘sick as fuck’. They’re bold and confident, like a motorcycle rider, and care about fashion but, more so than that, they value looking strong and well put together.
What’s your favourite look and why?
My favourite look would have to be the pearl-ish grey jacket with burgundy linings and then the pants follow that same colour palette but inverted. The crushed pants are a direct nod to the impact of a car crash, and I like how it’s been styled with the crushed bag as well. Actually, the handle is an old motorcycle part, so it becomes this disruption of sleek lines and precision but then with the crumpling of the trousers.
What do you plan on doing next?
I want to reinvent what the new age is for fashion through my designs but also intermingle this with my love for product design. I found a passion for the 3D development process which has played an integral role in my creative groove. The end goal is to, of course, start and build my own brand. I was able to gain some work experience as a designer for Harley Davison’s menswear team and worked alongside Louise Goldin which gave me great insight into the runnings of a fashion business — from garment construction to product design — all of which I’ve tried my best to implement into this collection.
Faye Simister
How would you introduce your collection?
The collection is an exploration into challenging modern knitwear design, by combining old technology with new. Using a hacked knitting machine from the 80s, I wanted to create immersive pieces which translate my love for bold graphics, illusions, surrealism and space-age design. Both classic and strange, low-budget, old sci-fi movies have prominence in my research, and I became obsessed with filming techniques which utilise odd perspectives and reflections to create eerie and unsettling outcomes. I think my digitised knitting technique corresponds with these films in a way, using the old machinery in an unconventional method in order to create something modern and surprising. Digitised knitting seemed so inaccessible to me when I first started out, so I find it kind of wholesome to be able to create these looks on my domestic machine.
Name three things that were on your moodboard.
The Futuro House by Matti Suuronen; the radioactive garbage men in the 1982 film Human Highway by Neil Young; and hoards monochromatic stylised advertisements in design journals from the 60s.
What’s your favourite look and why?
My favourite look would have to be the hole trouser and jumper set. It was great to create something using a new technique I have never done before. Those pieces were the most time consuming out of everything, with each hole having to be individually casted off and then casted back on. It sprouted from Matti Suuronen’s The Futuro House along with the knitted pyjama-like outfits worn by the crew in Space: 1999. and I also love how it kind of hurts your eyes if you look at it for too long!
What was the most challenging part of creating this collection?
I definitely found the toiling process to be the most challenging. It can be really hard to toile knitwear as its super difficult to find fabrics which act the same way as the final fabric, it kind of felt like I was going in blind when making the real thing. This combined with the constant fear that my machine might pack in at any time was quite nerve-racking!
Carson Lovett
How would you introduce your collection?
My collection is a search to find the modern bohemian spirit, which I believe is tied to the vintage and thrift movement. It is a fluttering free-fall into the objects and collections we surround ourselves with, interpreting into textile Meissen porcelain, victorian sugar shade lamps, art nouveau posters, and processing them through a highly synthetic color lens. Its free, its sexy, its alive.
Who do you see wearing it and where?
Daphne Guiness, Emrata, Ana Delvey and Stormy Daniels, on the stage or on the streets.
What’s your favourite look and why?
My favourite look is the knit dress. It really encapsulates the bohemian ethos, it’s fluttering, precarious and softly structured.
What do you plan on doing next?
I’d like to attract a fashion sponsorship like the legendary Fashion East institution that can guide and support me through the early stages of my design career. I think I could bring something really special to the fashion scene, a new baroque.
Violet Liu
Yeut Ting Ng
How would you introduce your collection?
It’s all about chocolate! The wrapping, the cooking, the mess. Looking back at the memories of sharing half an Almond Roca with you.
Name three things that were on your moodboard.
The Almond Roca, scribbles and a chopping board.
What’s your favourite look and why?
That’s like asking who your favorite child is. Every single one has their own characteristics and journey of emotions; I cherish all of them.
What do you plan on doing next?
Create, create and create! Nothing can stop me from creating, making and painting on clothings. I believe the fashion industry needs a young pair of hands and a creative mind to continue telling stories to the world.
Credits
All imagery courtesy of Central Saint Martins