The GFF Mentoring Programme is open to all courses that show with Graduate Fashion Foundation and welcomes all Class of 2024 member university graduates at any stage of job hunting or employment. The programme aims to equip mentees with critical industry insights, professional guidance, and career development strategies as they transition into the fashion industry.

Mentors for the programme are esteemed executives and professionals from diverse sectors of the fashion industry, including retail, design, manufacturing, business management, PR, media, marketing, legal, and recruitment. Each mentor will work closely with their assigned mentee, offering tailored advice and support in areas such as career planning, goal setting, work practices, portfolio development, CV and interview techniques, and launching a business or brand.

By fostering direct connections between emerging talent and seasoned industry professionals, the GFF Mentoring Programme plays a crucial role in shaping the future of fashion. As the next generation of creatives steps into the industry, this initiative will help navigate challenges, refine skills, and unlock exciting opportunities.

Mentor and Mentee Pairings

Today, we embarked on an incredible exploration of fashion at 'VOGUE: Inventing the Runway' at Lightroom in London, conveniently located just a short walk from Kings Cross Station and adjacent to the vibrant Coal Drops Yard. This immersive show presents a revolutionary look at the fashion catwalk, highlighting its evolution from the intimate couture salons of the early 20th century to the iconic pop-culture events we celebrate today. Narrated by the talented Cate Blanchett, the experience leverages Vogue鈥檚 extensive archive alongside insights from top contributors to bring the voices of the fashion industry to life.

As you navigate through the exhibition, you feel transported as it showcases the stunning works of legendary designers like Alexander McQueen, Chanel, and Versace. The exhibition is designed with captivating thematic chapters that illustrate how catwalk shows have become the ultimate showcase of a designer鈥檚 artistic vision and personal expression. With towering walls that soar four stories high, visitors are enveloped in large-scale presentations that amplify the incredible creativity of the fashion world. The production features original animations, innovative sound design, and a thoughtfully composed soundtrack that merges classical and contemporary elements to set the mood for this historical journey.

Overall, 'VOGUE: Inventing the Runway' is more than just an exhibition; it鈥檚 a mesmerising celebration of the creativity and dedication that has transformed our engagement with fashion through the ages. If you find yourself in London, don鈥檛 miss this extraordinary event that will leave you feeling inspired and awestruck!

Additionally, we鈥檙e excited to announce a competition on our , where you can win two tickets to 'VOGUE: Inventing the Runway.' Make sure to enter before the deadline at 5 p.m. on Tuesday, March 18, for a chance to experience this phenomenal showcase!

The competition challenged students to dive into Ellesse鈥檚 rich legacy, values, and Italian heritage, designing a six-outfit collection that redefines tennis apparel and accessories. The aim? To push the boundaries of sportswear innovation for both on and off the court.

After much deliberation, our esteemed panel of judges has selected the top three winners:

1st Place: Seren Still鈥擝ath Spa University

2nd Place: George Light鈥擭ottingham Trent University

3rd Place: Xuanhao Yi鈥擴CA Epsom

A huge congratulations to these outstanding designers! Their innovative approaches to blending tennis apparel with contemporary aesthetics truly impressed our judges:

Ony Nwanokwu is the Senior Content and Community Manager at Ellesse.

"We're really excited, and we've seen some fantastic work from everyone."

Izzy Crew鈥擠esigner at Ellesse.

"It's been really incredible to see all of your work; I think everyone should be really proud for entering."

Katie Greenyer鈥擟reative Director at Pentland.

鈥淚 have absolutely loved judging the Ellesse Tailors competition. I've seen so many beautiful sketches, innovation, materiality, and real breadth.鈥�

First Place Prize: A paid placement with the Ellesse global team in London, mentorship, and the opportunity to see two of your designs professionally manufactured and showcased on the catwalk at the Graduate Fashion Week Gala show.

Second Place Prize鈥擬entorship from the Ellesse Team and the opportunity to see one of your designs professionally manufactured and showcased on the catwalk at the Graduate Fashion Week Gala show.

Third Place Prize: The opportunity to see one of your designs professionally manufactured and showcased on the catwalk at the Graduate Fashion Week Gala show.

Plus, all three winners will have their entry showcased at GFW25 from 13th to 16th June 2025 at the Truman Brewery within the exhibition.

To all the talented students who participated, thank you for your creativity, hard work, and passion. Stay tuned for more exciting opportunities as we continue to champion the next generation of designers!

London Fashion Week (LFW), as one of the 鈥榖ig four鈥� on the global fashion calendar, is renowned for its innovative spirit and embrace of emerging talent. The recent February 2025 season of LFW, which took place from the 20th to the 24th, embraced this ethos by continuing the digital-physical hybrid format established in 2020 by seamlessly blending traditional catwalk shows with cutting-edge digital presentations. This approach not only expanded the event's accessibility but also underscored the industry's adaptive strategies in a rapidly evolving landscape.

The British Fashion Council (BFC) maintained its commitment to inclusivity and accessibility by offering a schedule that combined traditional catwalk shows with digital presentations. The official LFW digital platform provides free access to fashion consumers and industry professionals, offering an immersive experience beyond the front row.

Tech-Driven Fashion Experiences

Several brands embraced cutting-edge technologies to enhance their showcases:

Virtual Reality (VR) & Augmented Reality (AR): John Richmond鈥檚 immersive presentation at the Tate Modern allowed guests to experience the collection through an interactive digital activation. Augmented reality features enabled users to visualise garments in their own space, helping to contextualise brand engagement and bridge the gap between digital and physical landscapes.

Future Fashion Culture & Tech The LFW Solana x HAPE Social x Never Fade Factory event, as part of LFW鈥檚 City Wide Celebration schedule, explored the intersection of fashion, technology, and sustainability. Highlights included discussions on Digital Product Passports, AI鈥檚 role in fashion, and 鈥榩hygital鈥� experiences. A Fashion Biotextile Exhibition showcased sustainable innovations, while pop-ups featured independent designers. Experts from CLO Virtual Fashion, CuteCircuit, and LTD Inc. led panels on immersive and NFT fashion.

Live Shopping & Digital Commerce: Completedworks showcased a live shopping performance, a blend of catwalk and e-commerce where audiences could purchase items in real-time, reflecting the growing need for creative and commercial experiences, heightening consumer engagement, and seamlessly integrating fashion showmanship and retail.

Sustainability Meets Innovation

Sustainability remained a dominant theme, with LFW piloting new sustainability requirements aligned with the Copenhagen Fashion Week framework. The BFC鈥檚 NEWGEN initiative played a critical role in supporting emerging and sustainable designers like Helen Kirkum, GFW Ambassador, Ancuta Sarca, and Karoline Vitto, all of whom utilise upcycled materials.

Wolf & Badger hosted discussions on digital fashion鈥檚 role in reducing waste, advocating for circular design practices. Designers such as Richard Quinn (also NEWGEN alumni) and Erdem showcased collections incorporating eco-conscious materials and ethical production practices.

A Glimpse into the Future of Fashion Weeks

London Fashion Week February 2025 gave us a glimpse of what鈥檚 to come, blending the best of both worlds: transition and innovation. While digital features, sustainability, and interactive elements played a key role, the heart of fashion week and excitement of the runway remained as strong as ever. Technology is certainly making waves, but it鈥檚 not replacing the iconic moments we know and love.

As the industry continues to evolve, expect a seamless mix of digital and traditional experiences that will make the industry even more accessible and engaging. Fashion Week will remain a global affair, with a fresh and exciting twist!

Here鈥檚 What a Few of Our Ambassadors Are Up to This London Fashion Week

Ashish Gupta:

Celebrated for his vibrant, sequin-adorned creations, Ashish Gupta continues to infuse the fashion scene with bold expressions of colour and texture. His work consistently challenges norms and celebrates individuality, making him a standout figure in contemporary fashion. Gupta鈥檚 London Fashion Week catwalk will take place on Monday, the 24th of February, at 9 AM, where he will present his latest collection in his signature dazzling and unapologetic style.

Edeline Lee:

Edeline Lee's work is characterised by a modern interpretation of femininity. In her recent collection, Lee introduced the Triangle Court Shoe, the house's first footwear offering. Featuring a rounded almond toe and a 70mm triangular block heel, this shoe is designed for comfort and style, complementing every piece in the Edeline Lee collection. This addition signifies the brand's expansion and commitment to providing comprehensive wardrobe solutions for the modern woman. Lee鈥檚 London Fashion Week catwalk will take place on Saturday, the 22nd of February, at 10 AM, showcasing her latest collection in an immersive and innovative presentation.

Foday Dumbuya:

As the creative force behind Labrum London, Foday Dumbuya masterfully combines West African heritage with British tailoring. His designs tell compelling stories, bridging cultures and redefining modern menswear. Dumbuya鈥檚 London Fashion Week presentation, titled "Designed By An Immigrant: Sound of Us," will take place on Saturday, the 22nd of February, at 7:30 PM. This highly anticipated showcase promises to be a celebration of cultural identity, community, and the rich narratives that inspire his work.

Helen Kirkum:

Helen Kirkum will also be featured at The London Fashion Week Shop, located at 245 Regent Street from February 22 to 24. Known for her unique approach to sustainable fashion, Kirkum鈥檚 collection will be among the exclusive archive offerings curated by Ida Pettersson and Lewis Bloyce, providing pivotal support for emerging designers. This pop-up aligns with the BFC鈥檚 鈥楥ity Wide Celebration鈥� programme, which underscores the collaboration between brands, retailers, and consumers during this vibrant fashion week.

Jawara Alleyne:

As part of this vibrant lineup, we are excited to highlight Jawara Alleyne's London Fashion Week debut, which signifies a pivotal moment in his journey to establish a brand that resonates with women. Alleyne's show is not just a display of creativity; he strategically aims to attract wholesale clients and expand his business influence within the fashion industry. His dedication to building a sustainable brand echoes the innovative spirit exemplified by his fellow GFF ambassadors, making this season's Fashion Week a powerful platform for emerging designers.

Nicholas Daley:

Nicholas Daley's AW 2025 collection, titled "ISLAND TIES," is a heartfelt celebration of his rich Jamaican and British heritage. This collection masterfully weaves together elements from both cultures, featuring British staples like Harrington jackets and structured tailoring alongside Jamaican influences such as crochet and Caribbean bandana prints.

Daley is collaborating with Highsnobiety for their "NOT IN LONDON" series. This partnership includes a three-piece capsule collection inspired by Trinidadian calypso singer Lord Kitchener's iconic song, "London Is The Place For Me.鈥� To celebrate this collaboration, Daley and streetwear pioneers Patta are curating a party at Colour Factory during London Fashion Week, promising an evening rich in music and cultural fusion.

Patrick McDowell:

Renowned for his commitment to sustainable and circular fashion, Patrick McDowell is redefining traditional fashion showcases this season. In collaboration with mycelium technology company Ecovative, McDowell hosted an intimate dinner at Aqua Nueva in London, creating a space for meaningful conversations and shared experiences ahead of London Fashion Week.

Furthering his sustainable initiatives, McDowell has teamed up with bio-innovation company Huue to debut a capsule collection featuring garments dyed with Huue's bio-synthetic indigo. This collaboration marks a significant milestone, positioning McDowell as the first luxury designer to utilise Huue's eco-friendly alternative to traditional indigo dyes.

Richard Quinn:

Richard Quinn continues to inspire the next generation of designers with his fearless approach to fashion. Quinn鈥檚 Autumn/Winter 2025 collection marks a striking evolution in his design aesthetic, with the highly anticipated London Fashion Week catwalk taking place on Friday, the 21st of February, at 7 PM, promising a show filled with drama, craftsmanship, and innovation.

At Graduate Fashion Foundation, we take immense pride in our affiliation with these exceptional ambassadors. Their achievements and dedication serve as a beacon of inspiration for upcoming designers. As they continue to represent GFF on global platforms, we celebrate their contributions and look forward to their future endeavours that will undoubtedly shape the fashion world's landscape.

Note: For the most current updates on each designer's participation and events at London Fashion Week, please refer to the .

Applications open on Tuesday, 18th February, and will close on Friday, 11th April 2025. This ten-month mentorship programme provides a unique platform for early-stage fashion entrepreneurs to gain the essential skills and industry knowledge needed to grow and succeed.

Whether you are a photographer needing a streamlined workflow, a creative director seeking pitching opportunities, or an innovative designer looking to scale your brand, the Fashion Accelerator is here to help you turn your vision into reality. The programme offers:

• Expert mentorship from leading fashion industry professionals

• Skill-based seminars covering branding, marketing, financial management, intellectual property, and more

• Opportunities to showcase your work at Graduate Fashion Week 2025

• Networking events, panels, and studio tours with industry and media

Designed for fashion creatives from all disciplines, including photographers, stylists, designers, and digital media experts, the Fashion Accelerator aims to help participants refine their vision, enhance their business skills, and gain crucial exposure within the fashion industry.

The programme will dive deep into the intricacies of sustaining a business in the fashion industry, whether a brand, publication, creative agency, or other fashion venture. Open to entrepreneurs in the early stage of their business and young fashion talent who graduated with a BA degree from a GFF Member University between 2015-2024.

This is an incredible chance for under-represented fashion talent to build a sustainable business, access mentorship, and gain valuable opportunities to showcase their work.

Image maker? Future thinker? Creative designer? We鈥檝e got the answer to scale your brand and become a leader in the fashion industry.

Spotlight on Emerging Designers

This season, London Fashion Week welcomes emerging designers to the official schedule. Their inclusion underscores London Fashion Week鈥檚 commitment to nurturing fresh talent and providing a stage for innovative voices in fashion. Several emerging designers are set to present their collections, each bringing a unique narrative to the forefront.

Abigail Ajobi:

Abigail Ajobi is a London-based designer known for her luxury streetwear label. Abigail Ajobi, a graduate of the London College of Fashion, founded her brand in 2020, blending cultural narratives with sustainability. She uses deadstock fabrics to create limited-edition pieces, with part of the proceeds supporting charities related to each collection鈥檚 theme.

Her debut collection, Those Who Don't Hear... Must Feel, explored Black British identity and historical uprisings, incorporating tactical design elements and bold messaging. Recognised by WWD and Hunger Magazine, Ajobi has also been shortlisted for the BFC鈥檚 NEWGEN award. Beyond fashion, she DJs as King Jobi and teaches at the London College of Fashion.

Catwalk: Friday, 21st February, 2025, 3:00 PM. Watch online at https://londonfashionweek.co.uk/

Conner Ives:

Conner Ives is an American designer known for his sustainable approach and reinterpretation of American archetypes. A Central Saint Martins graduate, he gained early recognition when Adwoa Aboah wore his design to the 2017 Met Gala, leading to a collaboration with Rihanna鈥檚 Fenty.

Launching his label in 2021, Ives focuses on upcycling, using deadstock fabrics to create signature patchwork T-shirt dresses. His collections, inspired by American identity, have been featured at the Met Museum and in major fashion publications. Committed to slow fashion, he produces one collection per year, prioritising thoughtful design over fast production.

Catwalk: Sunday, 23rd February, 2025, 5:00 PM. Watch online at https://londonfashionweek.co.uk/

Simone Rocha:

Simone Rocha is an Irish designer known for her romantic, feminine aesthetic with a modern edge. A Central Saint Martins graduate, she launched her eponymous label in 2010, blending historical references with contemporary tailoring, intricate embellishments, and voluminous silhouettes. Her designs, often featuring delicate lace, tulle, and pearl details, explore themes of heritage, femininity, and rebellion. Rocha's work is widely acclaimed, earning her collaborations with major brands and a loyal celebrity following.

Catwalk: Sunday, 23rd February, 2025, 4:00 PM. Watch online at https://londonfashionweek.co.uk/

Paola Carzana:

Paolo Carzana is a Welsh fashion designer known for his sustainable approach to fashion. He founded his own label, focusing on using plant-based, recycled, and organic materials. His designs often explore themes of strength and fragility, incorporating natural dyes and handmade techniques. Carzana has been recognised for his work, receiving awards like the British Fashion Council's NEWGEN and being a finalist for the LVMH Prize in 2024. He has showcased his collections at London Fashion Week, where his emotionally driven, imaginative designs have received praise.

Catwalk: Sunday, 23rd February, 2025, 8:00 PM. Watch online at https://londonfashionweek.co.uk/

London Fashion Week February 2025 is set to be a dynamic convergence of tradition and innovation, where emerging designers bring fresh perspectives to the global stage, redefining the boundaries of fashion.

As these talents rise, they not only contribute to London鈥檚 reputation as a hub for creativity but also shape the future of the industry with bold storytelling, ethical practices, and groundbreaking designs. This season proves that fashion is more than just clothing; it鈥檚 a powerful medium for expression, identity, and change.

欧美精品视频 has been instrumental in identifying and nurturing the next generation of fashion leaders, and the newest intake of Global Ambassadors is no exception. This year's cohort includes an impressive and diverse group of individuals, each with their unique voice, vision, and expertise in the fashion industry. Among them are Ashish Gupta, Bianca Foley, Chani Ra, Claudia Croft, Dr. Brett Staniland, Dr. Samuel Ross MBE, Foday Dumbuya, Funmi Fetto, Gemma Metheringham, Helen Kirkum, Jamie Windust, Jawara Alleyne, Jiawa Liu, Jordan Mitchell, Liz MacCuish, Nicholas Daley, Phoebe Lettice Thompson, Rahemur Rahman, Toni-Blaze Ibekwe, and Yu Masui. These talented individuals join the existing network of Global Ambassadors, who have been with the foundation for some time, including the esteemed trustees.

The dinner event was an opportunity for the new Global Ambassadors to connect with their peers in the fashion industry. It was a chance to forge new relationships, share knowledge and experiences, and gain insights from like-minded individuals who are passionate about promoting and supporting emerging fashion talent. As the Graduate Fashion Foundation continues to drive innovation and excellence in the industry, the new cohort of Global Ambassadors will play a vital role in shaping the organisation's future initiatives and projects.

Images by for the Graduate Fashion Foundation

These influential figures, who have made significant strides across the fashion industry, will serve as mentors and role models, guiding and inspiring emerging creatives, as well as promoting the charity's work. 欧美精品视频鈥檚 mission is to bridge the gap between education and employment in fashion, and the new ambassadors will play a key role in advancing this mission by offering their expertise, wisdom, and support to young talent.

Through initiatives such as Graduate Fashion Week, industry networking opportunities, live university briefs, brand partner competitions, and year-round mentoring, Graduate Fashion Foundation equips the next generation of graduates with the tools and visibility needed for success. With a powerful network of ambassadors from various sectors of the fashion world, Graduate Fashion Foundation continues to foster inclusivity, sustainability, and innovation.

Graduate Fashion Foundation Charity and Event Director Nicola Hitchens said, 鈥淲e are thrilled to have the vital support of these leading industry voices and motivational change makers join GFF as Global Ambassadors. They each join the charity with many years of experience in their specialist areas, and they will hugely inspire the next generation of talent emerging from UK and international universities we support."

Meet the new Global Ambassadors:

Dr. Samuel Ross MBE, Ross鈥� contributions to fashion have been well-documented, with awards including three British Fashion Awards, two GQ Awards, and the Hublot Design Prize. Ross has been awarded two doctorates. Ross鈥� practice spans from solo exhibitions with White Cube and Friedman Benda to innovative wearable objects engineered with LVMH, Nike, and Apple. His work is held in the permanent collections of the Metropolitan Museum of Art and the V&A. In 2014, Ross founded a-cold-wall*, a luxury sportswear brand, which he sold in 2023 after establishing global stores and collaborations, including a-cold-wall* x Nike. In 2019, Ross founded sr_a, focusing on artisan-driven industrial beautification of garments, objects, and space. In 2024, sr_a entered a joint venture with Zara. In 2020, he launched the Black British artist grants program, providing funding to 50 artists.

Rahemur Rahman is a London-based fashion designer known for blending traditional tailoring, artisanal craft, and natural dye from Bangladesh. Rahemur鈥檚 collections have gained critical acclaim for their innovative sustainable designs that are designed from the death of the garment to its inception. He was shortlisted for the prestigious British Fashion Council鈥檚 Prize in 2021 and continues to make waves with his distinct approach to creativity and community. He is also a senior fashion lecturer at Central St Martins and director of training and development at the British Bangladeshi Fashion Council.

Rahemur said on joining GFF as Ambassador, "As a product of local youth services in lower socio-economic areas of the UK, I've seen how good support, advice, and financial help can change the trajectory of a young person's life. I hope to repay the world for the privileges I was given, and this ambassador opportunity allows me to do that."

Jamie Windust is an award-winning, non-binary model, writer, and advocate for inclusivity and diversity in the fashion industry. Their work has been instrumental in pushing for greater representation of LGBTQ+ and non-binary individuals throughout the fashion and beauty industry and has featured in digital campaigns for H&M, Gucci, and Jean Paul Gaultier. As a writer and author, Jamie has contributed to publications such as GAY TIMES and Men's Health, bringing LGBTQ+ voices into spaces they've not been before. Jamie was also a recipient of a Graduate Fashion Week award in 2018, where they showcased their graduate work at GFW.

Jamie said on joining GFF as a Global Ambassador: "Supporting and encouraging creativity is something that should be a priority for everyone, no matter what industry you work in. There is creativity in every part of our world, and being able to help nurture the future creative talent alongside the Graduate Fashion Foundation is an honour and a privilege. As they helped me during the beginning of my career, I hope to give back and let the talent of the future know that there's always space for their creativity in this world. The work they do is so fundamental in bringing a cacophony of unique, talented, and visionary ideas to the forefront of industries across the world, and long may that continue."

Yu Masui is a Japanese-born journalist and writer whose eye-catching aesthetic made Yu a standout in the fashion industry. Yu travels the world attending global fashion weeks, covering major shows and scouting the freshest talent.

Yu said on becoming an ambassador, 鈥淪ince the beginning of my fashion career, I鈥檝e been engaged in roles supporting emerging talents. I was involved with buying at the pineal eye back in early 2000 to start with. Now I鈥檓 still continuing through my writing, scout job & social media. Perhaps an outfit too! It is just so natural to me. To be honest, I prefer discovering exciting new designers more than attending luxury brands鈥� shows.

Phoebe Lettice-Thompson is a stylist, creative director, and brand consultant, working across celebrity, music, runway, and brand. With over 15 years of experience as a stylist and creative, Phoebe Lettice Thompson has carved out an inimitable, glamorous, London-infused, and joyful aesthetic that has seen her collaborate with the biggest and brightest names from across the global fashion industry. Phoebe began her career at numerous high fashion publications such as Tatler magazine and American Vogue. As part of her discipline, Phoebe has consistently championed local, homegrown designers and emerging talent. Phoebe said on her new role as ambassador, 鈥淪upporting emerging British fashion talent is essential to preserving creativity and innovation in the UK. The next gen represents the future of the industry, driving the evolution of fashion both in the UK and around the world, and I'm looking forward to the work we'll do to push this to the fore in 2025.鈥�

Phoebe said on her new role as ambassador, 鈥淪upporting emerging British fashion talent is essential to preserving creativity and innovation in the UK. The next gen represents the future of the industry, driving the evolution of fashion both in the UK and around the world.鈥�

Jawara Alleyne is a designer renowned for celebrating his Jamaican heritage and culture through his collections. Jawara Alleyne is an interdisciplinary artist, creative director, and educator whose work is rooted in identity. Alleyne graduated with a master's in design from Central Saint Martins in 2020 and, in 2021, launched his brand under the Fashion East initiative. His designs explore themes of identity and empowerment, blending traditional craftsmanship with contemporary fashion. His eponymous brand has a 360-degree circular approach, designing out of waste, reworking end-of-life garments, and repurposing deadstock materials.

Dr. Brett Staniland is a model and environmental advocate, known for his work promoting sustainability within the fashion industry. He has worked with leading sustainable brands and is a vocal advocate for ethical fashion practices. Brett has been nominated for various awards, and his work has been featured in museums across Europe. Brett鈥檚 dedication to reducing fashion鈥檚 environmental impact aligns with the Graduate Fashion Foundation鈥檚 commitment to sustainability.鈥�

Brett said on joining as Ambassador, 鈥淚t鈥檚 enormously important to me to support and harness the next generation of talent. Having spent a decade in higher education, I know firsthand what a difference additional support can make. To improve the state of fashion in the future, we have to provide the best opportunities to emerging young talent so they can enter the industry and have an impact.鈥�

Foday Dumbuya is the founder and creative director of Labrum London. Dumbuya is known for his innovative designs that combine African heritage with British tailoring, telling stories on textiles. Foday鈥檚 work aims to challenge the conventions of menswear, bringing together culture, craftsmanship, and style. His brand has been recognised for its commitment to diversity and inclusivity within the fashion industry as well as being a future thinker, delivering eye-catching collaborations and runway shows.

Foday said on becoming an ambassador, Fashion is a powerful tool for storytelling and cultural expression, and the next generation of designers will shape the future of how we see and experience the world. Supporting young creatives isn鈥檛 just about giving them opportunities鈥攊t鈥檚 about ensuring their voices are heard. That鈥檚 why I鈥檓 proud to stand with the Graduate Fashion Foundation in helping to open doors for new talent.鈥�

Toni-Blaze Ibekwe is Editor in Chief at Wonderland Magazine and Diversity Committee Member at the British Fashion Council. With a BA in Fashion Communication and Promotion, Ibekwe joined Wonderland as an intern shortly after graduating, quickly proceeding to the esteemed title of editor-in-chief.Ibekwe's creative directorship translates into her collaborations, where she has styled the likes of Wizkid, Ciara, Naomi Campbell, Lupita Nyong'o, Mary J. Blige, and Emma Watson while also working on global campaigns with Adidas, Bacardi, Perrier, and more.

Toni said on joining GFF as a global ambassador: 鈥嬧€�"I'm thrilled to join as a global ambassador of GFW. The late GFF President Hilary Alexander OBE was a dear friend and inspiration, and I am honoured to keep her legacy alive and further equip the younger creative class."

Bianca Foley is the founder of the platform Sustainably Influenced, a presenter and podcast host, and a sustainable fashion content creator. She hosts the podcast Sustainably Influenced, where she discusses hot topics in the sustainability space and how we can all do more to include more ethical practices in all aspects of daily life. Over her decade in the industry, Bianca has worked with many brands, including PUMA, COACH, and Monica Vinader, and has been featured in the ITV news series called #FastFashion as well as publications including Harper's Bazaar, WhoWhatWear, and Woman and Home Magazine. For Bianca, sustainability is an ever-evolving term, and she believes that it鈥檚 the small collective changes that will make a difference.

Bianca said on joining GFF as a Global Ambassador: "I am passionate about supporting young emerging talent because they represent the future of creativity and innovation in our industry. 欧美精品视频 plays a vital role in nurturing these voices, and I am honoured to contribute as a Global Ambassador to champion their potential and provide the opportunities they deserve."

Gemma Metheringham is a circular fashion consultant, a secondhand fashion advocate, and a PhD student exploring how the exponential growth in the fashion resale market this century can be leveraged to support reductions in the fashion industry's overall environmental impact. Ex-Creative Director at Next Label Mix and Karen Millen, Gemma鈥檚 consistent support for emerging designers and sustainable fashion has made her an essential voice in the conversation on fashion鈥檚 future.

Gemma said on joining as Ambassador, "I am old enough to remember the excitement of attending the very first Graduate Fashion Week and seeing all that talent and energy on show all in one place! Over the many years that I've been involved with GFW, it's been a real privilege to watch each new generation of talent shaping the future of the fashion industry and highlighting the issues that are important to them. Now, more than ever, the fashion industry needs their new ideas and all their energy to support it in building a sustainable and equitable future for all of us."

Nicholas Daley is a British designer renowned for fusing traditional British tailoring with his Scottish and Jamaican heritage. His work celebrates diversity, community, culture, and craftsmanship, and his collections have garnered critical acclaim for their rich storytelling and unique blend of materials. Daley is recognised as a leading figure in a new wave of British menswear. His accolades include the 2019 International Woolmark Prize semi-final, an LVMH Prize finalist in 2020, and the 2022 BFC X GQ Designer Award. He has also received nominations for the British Fashion Council Awards in 2023 and 2024 for New Established Menswear and won the Saks Fifth Avenue The New Wave Award.

Nicholas said on becoming an ambassador, 鈥淚t is very important to support the next generation of fashion designers, and it has been a rewarding experience to serve on the judging panel for the 2024 GFF Gold Award. Seeing so many impressive collections from universities across the UK was truly inspiring. I look forward to continuing my contributions to this important organisation, which leads the way in supporting emerging talent and preparing students for careers in the fashion industry. Staying true to your own creative path is very important, and I hope I can help support and guide the next generation through my involvement.鈥�

Jiawa Liu is a fashion editor, creative director, and founder of the Paris and London multidisciplinary creative studio Beige Pill, pushing boundaries in the moving content space and focusing on amplifying marginalised voices. She has held many editorial positions in publishing, including Vogue Australia and Harper鈥檚 Bazaar Singapore, becoming known for her innovations in art direction, blurring the intersection of traditional and advanced visual image creation. Through her work, Jiawa has become a prominent figure in pushing for systemic change in the fashion industry by proactively highlighting and casting diverse talent in the media space.

Jiawa said on becoming an ambassador, 鈥淚 myself came as an outsider into the fashion and creative industries not so long ago, and to have carved out my place, I am always grateful to those who took a risk on me, believed in me, and entrusted me with opportunities that allowed me to reach my potential. When we look at the iconic fashion talents that came before, none of them were, by any means, born fully formed. I am convinced that vital to their becoming were always, as they are today, guidance, opportunity, and most importantly, belief in their future potential.鈥�

Claudia Croft is Editor at 10 Magazine. Croft has been at the forefront of championing emerging designers. Her work in influential publications, including British Vogue, has helped bring attention to new voices in fashion. Claudia鈥檚 eye for talent and her ability to tell the stories behind the clothes have earned her respect within the industry.

Claudia said, 鈥淭here鈥檚 so much creative talent here in the UK. It鈥檚 so important to support that and look to the future. I鈥檓 excited to play a part in that.鈥�

Helen Kirkum is known for her innovative approach to footwear design. Helen Kirkum鈥檚 work has disrupted traditional ideas of what sneakers can be. Her designs are a fusion of art and fashion, often using upcycled materials to create one-of-a-kind pieces. Helen鈥檚 dedication to sustainability and creativity has earned her recognition as a leader in sustainable design.

Helen said on her role supporting the Foundation, "I am a big advocate of supporting emerging graduates; it is their creativity and fresh ideas that keep the industry exciting. We have to support them with practical guidance to allow them to flourish; it's how we will shape a more thoughtful and responsible future for fashion!"

Jordan Mitchell and Liz MacCuish are the co-founders of Good Culture, a next-generation marketing agency operating at the intersection of talent, brands, and popular culture. With deep expertise in marketing and cultural strategy, they specialise in elevating clients beyond their category and into culture. Both Jordan and Liz have built careers shaping brand narratives, driving cultural impact, and advising industry leaders through their roles on multiple advisory boards.

They said, 鈥淏eing Global Ambassadors for Graduate Fashion Foundation is an honour, and we鈥檙e excited to contribute to a future where innovation, inclusivity, and cultural impact lead the way. Fashion is a powerful conduit for culture, and supporting the next generation of talent is essential in breaking barriers and creating opportunities that allow emerging creatives to thrive."

Ashish Gupta is an Indian-born, London-based designer who combines traditional craftsmanship with modern design elements. His eponymous fashion label has been synonymous with glamour, maximalist design, and painstaking craftsmanship for over 20 years. Known for working in bold, joyful colours and creating clothes that are hand-embroidered in sequins and beads, he approaches his work with a rainbow palette and a glittering sensibility. Ashish is a pioneering voice in the fashion industry and has been an advocate for diversity throughout his career, challenging stereotypes and exploring the role that clothing can play in the politics of optimism and inclusion.

Ashish said on becoming an ambassador, 鈥淚t is very important for me to be able to support emerging talent, especially in these challenging times. Fashion intersects with all other creative communities鈥攊t influences and is influenced by art, music, and film. Supporting aspiring voices helps to shape a more diverse and innovative industry, which enriches broader creative and cultural movements."

Funmi Fetto is Style Editor at British Vogue, an associate lecturer of fashion journalism at Central Saint Martin, a luxury brand strategist, and a celebrated style, arts, and culture journalist. Much of her work as an editor, a teacher, and a consultant centres around changing the narrative around under-represented/marginalised people and ensuring their stories and voices are heard. As a digital and print journalist, she has worked and written for numerous publications and organisations, including Glamour.com, Vanity Fair, InStyle, Sunday Times Style, The Guardian, Tatler, and The Observer Magazine, where she writes a weekly beauty column. She is the author of 鈥淪hopping For Vintage鈥濃€攁鈥� book on how to buy and collect vintage fashion鈥攁nd 鈥淧alette: The Beauty Bible For Women Of Colour.鈥�. Her latest book, Hail Mary, a collection of short stories on the lives of 9 Nigerian women, will be published by Harper Collins (US) and Oneworld (UK) in April 2025.

Funmi said on becoming an ambassador. 鈥淚 have been fortunate enough to work with many talented peers, assistants, and 'elders' and people who have inspired me and helped not only to shape my lens but also the choices鈥攂ig and small鈥擨 have made in my career. I am excited by the prospect of being able to champion and support and hopefully inspire the next generation of fashion talent in the same way."

Chani Ra is the host of The Fashion Nap podcast, a favourite among fashion insiders, interviewing fashion's favourite faces spanning the decades. Chani started her digital fashion journey as @thefashionnap on TikTok, where she is dedicated to telling fashion stories, past and present, as well as sharing tales from her own wardrobe and her journey as a model. In three words, Chani Ra is all about fashion, facts, and fun!

Chani said on becoming an ambassador, 鈥淣urturing the next generation of talent is so important in an industry that has so many limitations for so many. Talent is rarely the issue; it's access. Seeing the work the GFF continues to do to lead emerging talents from education to employment is inspiring. Any small way I can contribute to their ongoing efforts will be an honour.鈥�

Why These Ambassadors Matter:

Graduate Fashion Foundation has a long-standing commitment to supporting and celebrating individuals who drive change within the creative industries. This diverse group of ambassadors reflects the foundation鈥檚 dedication to innovation, inclusivity, and the power of storytelling through fashion disciplines.

They join the current established ambassadors;

Caryn Franklin MBE, Fashion Commentator and agent for change; Christopher Raeburn, Designer and Creative Director; Richard Quinn, Designer; Fabio Piras, Ma Course Director at Central St Martins; Henry Holland, Designer; Patrick McDowell, Designer, Munroe Bergdorf, Model and Activist; Iain R Webb, Editor and Professor; Julien Macdonald OBE, Designer; Sara Maino, Vogue Italia; Daniel Lismore, Living Artist; Pam Hogg, Designer; Bemi Shaw, Styling and Journalist; Catherine Teatum and Rob Jones, Founders of Teatum Jones; Edeline Lee, Designer; Eunice Olumide MBE, Model; Ida Petersson, Ex Buying Director and Founder of The Good Egg Agency; Isabella Silvers, Journalist; Orsola de Castro, Founder of Fashion Revolution and Mandi Lennard, PR Consultant.

We鈥檙e pleased to have launched tickets to attend Graduate Fashion Foundation鈥檚 鈥楽chools & Colleges Day鈥� on Monday, 16th June 2025, at Truman Brewery, Brick Lane, London!

The day is an opportunity for students across the UK to experience a catwalk show, an immersive creative workshop, a panel with leading industry voices and discover an exhibition of more than 30 + leading universities, showcasing multidisciplinary fashion and textile projects.

It鈥檚 a chance to ask current students what their university experience is like, discover the array of degree courses available in fashion, get top tips from lecturers on applying to university, and see the kind of work you might create on a course.

From inspiring students to pursue a career in the 拢21 billion* industry to discovering new opportunities in buying, merchandising, and styling, the day is designed to create an exclusive experience for young people.

Limited tickets are available now鈥攇et in touch at eventassistant@graduatefashionweek.com to book.

*worth 拢21 billion and employs more than 1.3 million people, Value of Fashion Report, British Fashion Council

欧美精品视频, supported by PVH, is excited to announce the Young Talent of Tomorrow Fashion Design Competition 2025.

Creative talents between the ages of 11 and 18 are invited to 鈥業magine Tomorrow,鈥� envisioning the future by designing looks that will be brought to life at Graduate Fashion Week 2025.

From interpretations of a future utopia to exploring their own imaginations, there will be three winning outfits across corresponding age categories, with prizes including tickets to GFW 2025, a GFW Designer Ambassador school visit, and printed and framed versions of their own work.

The competition is open to UK-based students studying textiles, art, or relevant design technology subjects between the ages of 11-18, with the purpose of encouraging young people to engage in fashion, learn more about the roles available, and see themselves as future designers.

Applications close at 12 p.m. on Friday, 21st March 2025. Apply now!

This annual event serves as a vibrant platform for showcasing the groundbreaking works of talented students from both UK and international universities, alongside contributions from renowned global brands. Whether you鈥檙e an industry expert, a student, or simply a lover of fashion, GFW25 promises an experience that will inspire.

What鈥檚 happening at GFW25?

Here鈥檚 a glimpse of what you can look forward to during our four-day celebration of creativity.

University and Brand Stands:

Discover a variety of stands from universities and renowned brands, along with exhibitions showcasing the Class of 2025's most groundbreaking creations. These displays highlight the talent and commitment of the next generation of fashion creatives.

Catwalk shows:

Be captivated by stunning runway presentations, each displaying collections that push the boundaries of design and creativity.

GFW Live! Talks:

Gain insider knowledge from esteemed industry professionals as they share insights on trends, career advice, and the future of fashion during engaging live discussions.

A Legacy of Nurturing Talent

For over 30 years, the Graduate Fashion Foundation has been a steadfast champion of emerging talent, helping to launch countless careers in the fashion industry. This year鈥檚 event continues that proud tradition, offering a platform for fresh voices and trailblazing designs while fostering connections between graduates and the wider fashion community.

Whether you鈥檙e attending to discover the stars of tomorrow, connect with industry leaders, or simply immerse yourself in the world of fashion, Graduate Fashion Week 2025 is an event you won鈥檛 want to miss. Join us as we celebrate the creativity, diversity, and brilliance of the future of fashion!

Written by Lottie Blackman with images by Val Stuppia and Rory James from GFW24

What is the most valuable thing you have learnt at university?

My course taught me the importance of research, primary and secondary. As the starting point of most projects, it holds a significant part in the impact and meaning of the collections. I was pushed to always go further into my research, to analyse even the most seemingly insignificant aspects, as they usually hold some of the most interesting ideas. Books, museums, articles, shows, and human interactions carry the information needed, and the only way to gain access is to actively search for it.

What was the starting point of inspiration for your final project?

A desire to reconnect with my country. After leaving Guiana to study in the UK, I found myself not only missing it but realising how much I wanted to learn more about its history and cultural aspects, as it is never mentioned in the French educational system. I decided during the 2023 summer break I spent in Guiana to meet with inhabitants from the three main ethnic groups (Am茅rindiens, Bushineng茅, and Cr茅oles) and directly learn from them about traditions. I would like to share my thanks with every person I encountered, especially Mrs. Ossalina Dikang, Mr. Bruno Apouyou, Mrs. Jessica Narcisse, Mr. Eddy Payet, Mrs. C茅linie Bourdon, the "Mus茅e des Cultures Guyanaises," and the Libi Na Wan organisation.

What form did your project take?

My project had the aim of producing a collection comprised of three fully realised looks (garments, accessories, and shoes) along with a physical and digital portfolio.

What materials have you used, and how did you source them?

I used materials from a bit of everywhere. The 100% pure boiled wool fabric for my coat was purchased from a UK fabric company, yet the tweed from another look came from a dead-stock warehouse in Paris I bought in 2022. Moreover, the decorative buttons, earrings, anklets, and purses from both looks are Guianese handmade from byproducts.

Indeed, I collected in 2023 seeds from a well-used local fruit named Maripa and Comou and asked a local artisan to drill holes, transforming them into fastenings or accessory materials. The bag was made by a Palikur Native American, Mrs. Batista Vera.

The crinkled satin in the sleeves' facings are scraps from my placement in London. The intricate embroidered motifs are transparent laser-cut acrylics.

One of my dresses was made from a 2-way net and 4-way stretch power mesh, the former from London and the latter from Newcastle. The embroidered Mara Mara seeds were a gift from Native Americans from the Kamuyeneh village in Macouria.

How has it evolved from your initial ideas, and what have you learnt along the way?

Most fabric choices evolved along the development process. Those modifications were often due to the original fabrics's properties, which became restrictive, especially in relation to the final designs. I learnt to take much sooner into account the fabrics viability for a design by creating half toiles with similar weight and texture early on in the creation process.

What are the messages and themes behind your project that you want people to take away?

I want people to discover the fascinating country that Guiana is through its incredible population and not from the eyes of our past and current oppressors with their prejudiced mindset. This project is about displaying the resilience we, the Guianese, maintain despite the neocolonial practices of the French Government. I want minorities to be able to relate to my people's story and not be afraid to embrace their traditions and their country's history. My collection "Hidden Beauty" means: Our cultures will not be erased, we will not be wiped out, we will continue to fight, standing proud and dignified.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

Most aspects of the fashion industry should be improved. From the creation process, such as the fibre choice, the distances between every factory required for a garment's production, its quality, to the aftercare from its user. However, the aspect I would aim to improve the most is the working conditions of factory workers. For many years, their already deplorable working environment has worsened and their salary has decreased. They are human beings and should be treated as such.

What are you planning to do following your BA?

Find a job in a brand's atelier to develop and learn new skills. I want to be surrounded by professionals and interact with them to gain experience, competence, and knowledge.

Stay updated with Ta茂ma on .

What is the most valuable thing you have learnt at university?

One of the most valuable lessons I鈥檝e learnt is the power of hard work and the importance of a supportive network. The support and mentorship from my lecturers and technicians were invaluable. Their guidance went beyond academic instruction; they provided inspiration and encouragement, nurturing my creativity and pushing me to strive for excellence. Through one-on-one discussions, detailed feedback, or simply believing in my potential, their influence played an important role in my growth and success.

Graduating from Northumbria University with a degree in Fashion Design and Marketing has been an extraordinary journey, one that has tested my limits and expanded my horizons. The path to this point has been anything but easy. Countless 18+ hour days and working seven days a week with two jobs on the side became the norm, but each moment of exhaustion was met with an equally powerful sense of accomplishment.

My academic journey was further complicated by personal struggles with mental health, depression, ADHD, and ASD. Battling clinical depression often made it difficult to find motivation for even the simplest tasks, while ADHD sometimes made focussing on assignments and coursework a monumental effort. Autism added another layer of complexity, affecting my social interactions and making the university environment occasionally overwhelming. Despite these obstacles, I persevered, learning to manage my conditions while continuing to pursue my passion.

Throughout this period, I learnt the importance of resilience, adaptability, and hard work. The challenges I faced only made the experience more rewarding, shaping me into a resilient, dedicated individual who understands the value of perseverance.

What was the starting point of inspiration for your final project?

Every step of my life has been fuelled by inspiration from my own stories and battles, my surroundings, and the remarkable individuals who have crossed my path. From these experiences, a vision emerged that reflects both my career aspirations and the market demand for sensory-friendly fashion brands. This project holds immense personal significance for me, and with NEW ESCAPE, I鈥檓 not just building a brand; I鈥檓 crafting a movement鈥攐ne that celebrates diversity, empowers individuals, and reshapes the current fashion industry.

Diagnosed with depression at 16, I have struggled with mental health issues, eating disorders, and anxiety for as long as I can remember. As I got older, I sought to understand what was wrong with me, spending years questioning my identity and my whole life. Eventually, I discovered that I have ADHD, autism (ASD), and later, hyperhidrosis, heat intolerance, and other musculoskeletal issues. I never received special treatment and avoided discussing any of my conditions. In my country, support for mental health and conditions such as ADHD and ASD is still very limited to children, leaving adults often overlooked and their conditions untreated or misdiagnosed.

A survey, backed by the National Autism Society (NAS), reveals that 72% of people who identify as having a disability say they have not encountered fashion brands that actively embrace neurodiversity. This study also showed that fashion brands are not actively taking into consideration their neurodivergent consumers. There is a lack of awareness and understanding of the impact clothing can have on neurodiverse individuals. Sensory-friendly clothing can play a significant role in preventing and managing sensory issues and overload for neurodivergent people.

Embracing the neurodivergent mind one stitch at a time, NEW ESCAPE aims to create a safe space through innovative and unique designs while taking into consideration their specific needs, sensory issues, and clothing preferences.

What form did your project take?

I designed a six-look collection and physically made two of those looks: a weighed sensory hoodie, dress, and sweatpants. For my promotion, I did a photoshoot, a promotional video, a sensory lookbook, editorial images, an extensive marketing plan, and more!

What materials have you used, and how did you source them?

For individuals with ADHD and autism, fabric texture can significantly impact their sensory experience and daily life. Rough or scratchy textures may cause discomfort and distraction, intensifying sensory sensitivities commonly associated with these conditions. For individuals with ADHD, textures that are too stimulating or uncomfortable can be highly distracting, making it difficult for them to focus on tasks or activities. Smooth, soft, and breathable fabrics can offer a calming effect and increase focus and comfort. Selecting the right fabric is crucial in providing a supportive environment that minimises sensory overload and promotes well-being for individuals with ADHD and autism. Fabric choice can contribute to creating a more inclusive and accommodating environment, allowing individuals to manage their sensory needs better and thrive in their day-to-day lives.

To ensure the highest quality, I sourced materials from fabric manufacturers and conducted extensive testing with individuals on the neurodivergent spectrum like ADHD or autism. By evaluating their sensory responses to different textures, I was able to select fabrics that are soft to the touch, breathable, moisture-wicking, and overall as comfortable as a cloud.

How has it evolved from your initial ideas, and what have you learnt along the way?

My vision for creating designs that positively impact the fashion industry has evolved significantly over time. From a young age, I was passionate about helping the world, but it wasn鈥檛 until last year that I truly understood how I wanted to achieve that dream. Each year at Northumbria University, I focused on different under-represented groups or current world issues for my projects.

This continual exploration and learning process allowed me to refine my focus and understand the specific needs of various communities. Each project provided valuable insights into the specific needs and challenges faced by multiple communities and helped me identify the gaps within the fashion industry.

The journey has taught me that making a meaningful impact involves more than just a vision; it requires understanding, empathy, and a commitment to addressing real-world challenges. My initial ideas have evolved into a focused mission to create fashion that is not only inclusive and innovative but also sustainable and transformative. I am dedicated to developing designs that support and empower individuals, making a tangible difference in their lives while reshaping the fashion industry.

What are the messages and themes behind your project that you want people to take away?

The messages and themes behind my project centre on inclusivity, diversity, sensory sensitivity, and digital innovation.

Inclusivity and Diversity: My project highlights the importance of creating fashion that accommodates and celebrates all individuals regardless of their age, gender, and conditions. The goal is to challenge conventional fashion industry standards and make fashion more inclusive for people with different needs. By designing clothing that addresses these unique needs, I aim to foster a more accepting and diverse environment where everyone can feel comfortable and represented.

At New Escape, we take pride in including individuals of all genders and sizes. Whether you identify as male, female, non-binary, or anywhere along the gender spectrum, our clothing is crafted to fit and flatter a variety of body types and preferences. We鈥檙e committed to providing clothing that empowers everyone to express themselves authentically and comfortably, regardless of gender. Whether you鈥檙e petite, plus-size, or somewhere in between, we believe that everyone deserves to feel comfortable and confident in their clothing. With our diverse range of sizes, you can shop with peace of mind, knowing that you鈥檒l find the perfect. Our garments are made to be oversized and loose-fitting, allowing for free body movement.

Sensory Sensitivity: A core theme of my project is the impact of fabric texture on sensory experiences. I want to highlight how certain textures can alleviate or exacerbate sensory overload for individuals with neurodiverse conditions. This focus on sensory-friendly design not only addresses a significant need but also raises awareness about the everyday challenges faced by those with sensory sensitivity.

Empowerment and Well-Being: My project seeks to empower individuals by providing clothing that enhances their comfort and confidence. I want to promote well-being through fashion, supporting mental health and sensory needs, and proving that clothing can be stylish and functional.

Digital Innovation: Integrating digital innovation is a key element of my project. I aim to leverage technology to enhance the design process and consumer experience. This includes using digital tools for virtual fitting, incorporating smart textiles that adapt to sensory needs, and employing data-driven approaches to better understand and meet customer preferences. By embracing digital advancements, my project seeks to stay at the forefront of fashion innovation and improve the accessibility and functionality of sensory-friendly clothing.

Social Impact: Beyond fashion, my project explores the broader social impact of inclusive design. By addressing the needs of under-represented groups and advocating for change within the fashion industry, I hope to inspire others to think critically about how their work can contribute to a more equitable and supportive society.

The launch collection 鈥樷€橴nmasked鈥欌€�, in collaboration with The National Autism Society, would use 5% of its profits for further research and establishing a charity for neurodivergent individuals in Eastern Europe, starting with Slovakia (the CEO鈥檚 home country). Autism and ADHD remain very unrepresented and untreated in Eastern Europe, with significant gaps in awareness and access to necessary support and resources.

About the logo: Many brands and businesses use the puzzle piece in their marketing campaigns, logos, or prints. There are a large number of autism organisations that have trademarked the puzzle piece and used it in their logos or campaigns. The result of the study highlights the use of the puzzle piece imagery and the negative responses from autistic people. Being referred to as 鈥樷€檛he missing piece'','solving the autism puzzle鈥欌€� has sparked many negative discussions among autistic people. In the College English journal, Yergeau says, "'鈥樷€橮uzzle pieces symbolise so much of what is wrong with popular autism discourse鈥攔epresenting autistic people as puzzling, mysterious, less than human entities who are'short a few cognitive pieces鈥欌€�, who are disconnected and need to 鈥樷€檉it in.'' (Heilker and Yergeau, 2011: 494)

The knowledge of this is important for NEW ESCAPE while choosing the logo and future marketing campaigns or social media posts. Building trust and a strong relationship with the customer is one of the fundamental objectives of the brand. It's essential to recognise the significance of various symbols for different groups and how they might be perceived. Many symbols hold a deeper meaning beyond their mere representation; they hold power, they reflect how individuals view themselves, how they perceive others, how others perceive them, and how they develop trust in the world around them.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

I鈥檓 passionate about addressing the lack of inclusivity and sensory accommodation within the fashion industry. Traditional fashion often overlooks the needs of individuals with neurodiverse conditions, such as ADHD and autism, who can be significantly impacted by fabric textures and other design features.

My goal is to create a more inclusive fashion environment by designing clothing and other products that cater to sensory sensitivities, ensuring that people with these conditions can find beautiful, comfortable, and functional garments. This involves not only using fabrics that minimise discomfort but also incorporating other features that support sensory needs.

I am committed to integrating digital innovation to improve both the design process and customer experience. This includes using digital tools for virtual fitting and incorporating smart textiles that adapt to sensory needs. Embracing technology enables New Escape to offer personalised solutions and stay at the forefront of fashion innovation.

Masking, or what鈥檚 often called ''camouflaging,鈥欌€� is one of many characteristics of people with autism spectrum disorder (ASD). This includes the individual 鈥樷€檋iding鈥� their true personality to seem 鈥樷€檔ormal鈥欌€� and to fit in or finding ways to seem socially competent to hide their difficulties from the outside world. Not only does it affect the quality of the person鈥檚 life, their well-being, long-term outcomes, or social relationships. This study examined the masking experiences of 92 adults (of which 55% were British) with ASD and then analysed the key elements such as motivations, fitting in, and connections with others. 

Masking: 鈥樷€橧鈥檓 hiding behind what I want people to see.鈥欌€�

鈥樷€橧 camouflage by putting on a character. I treat my clothes rather like costumes, and certain items of clothing help me uphold certain personality characteristics of which character I am on that occasion.鈥欌€�

''Putting on a piece of clothing from New Escape is like taking your mask off.''

What are you planning to do following your BA?

Throughout my journey pursuing a bachelor鈥檚 degree in Fashion Design & Marketing at Northumbria University, I recognised the potential of integrating technology into the fashion industry, particularly to create solutions that cater to the needs of under-represented communities. This realisation inspired me to continue my education further with a Master鈥檚 in Computer Science with a focus on Artificial Intelligence (AI), with the aim of using AI to revolutionise the fashion industry and create innovative solutions for people on the neurodivergent spectrum. From a young age, I knew I wanted to pursue a career in fashion, and I always wanted to create products that make a positive impact on people鈥檚 lives.

With a Master鈥檚 in Computer Science with a focus on AI and a background in fashion design and marketing, I aim to bring innovative solutions to the fashion industry. By integrating AI, we can create more inclusive, sustainable solutions for an under-represented group.

My goal is to establish New Escape as a leader in the sensory-friendly fashion industry, demonstrating how technology can empower individuals, transform different sectors, and make a positive impact on people鈥檚 lives and the world.

After my master's, I plan to pursue a PhD to explore AI's potential in revolutionising fashion and inclusivity further. Through this journey and the power of AI, I aspire to create a world where fashion is truly for everyone and inclusivity is a right, not a privilege.

Stay updated with Katarina on .

What is the most valuable thing you have learnt at university?

Patience and commitment are two of the most valuable lessons I鈥檝e learnt throughout my journey. Beyond the technical skills of sewing, draping, and construction, I鈥檝e come to understand that hard work requires both time and effort. The university has played a crucial role in helping me remain dedicated to my vision, teaching me the importance of perseverance in achieving success.

What was the starting point of inspiration for your final project?

My senior collection was born from a personal experience. It tells the story of Nour, who was born and raised in an abusive and dysfunctional family. Their environment impacts every aspect of their being, and for years they cope, but eventually they make an escape into the light. They are free. The chains that held them so heavily cannot be seen anymore. The routine that they meticulously curated to survive no longer exists. The structure of their life has crumbled, and their glow lit brighter than ever. The dark was gone, no longer here with us. Newness is all they feel. However, once they have discovered the light, they realise that the darkness has become a part of them. And it turns into the internal battle between the light and the dark, and they need to make peace with it.

鈥淣our swings between times of light, joy, freedom, breaking free, feeling like the most powerful and prideful, to times of darkness and sorrow, numbness, nothingness, and emotionless guilt. It begins to feel like Nour isn't in a cage, but rather the cage is part of Nour. Nour can't escape the cage. Nour can sleep a few nights without wrapping their arms so tightly around themselves, but eventually, Nour will tense up again and guard their deepest darkness all night. But Nour knows they're special. Their very deepest inner core knows that they will make it. Make it out, make it in the world. They know they're not like the others. They have this total belief and complete conviction that they are special. Their innermost has produced a power and capability to endure that no other has. It has produced light in The Dark Delusion of the Light.鈥�

What form did your project take?

A five-look garment collection that combines concealed protective silhouettes, dark religious notions, and bespoke tailoring to create a fully gender-neutral collection that emanated from the battle between the deepest darkness and the rebirth of light.

What materials have you used, and how did you source them?

When choosing the fabrics for my collection, I aimed to achieve garments that were timeless yet unique. Which is why my fabrics consisted of wool and silk. I chose wools that are super 120s, which are of the finest and highest quality from Italy. This story is beyond sophisticated and needed matching fabrics to convey it. Part of these garments being timeless means these garments don鈥檛 just have one life, but rather they become more beautiful as they age. They remain high in value as they are made of high-quality materials and constructed using bespoke tailoring, an art of constructing suits using a technique developed in London's Saville Row that requires creating everything from scratch and using meticulous techniques, threads, and canvases that I learnt for months before and during my collection. The beauty of these garments is also in their inclusivity. They are completely genderless and speak to the viewer regardless of their identity.

How has it evolved from your initial ideas, and what have you learnt along the way?

My designs were constantly evolving along my design process. I believe I鈥檝e maintained a pretty strong connection to my initial ideas. However, refinements were always made along the way. Sometimes simplifying things can deliver your message more clearly. I was constantly refining darts or ease. Fitting on the model completely changes the shape of your garment compared to the dress form. I was also refining the relationship of the shoe to the bottom of the garments, or the sleeve to the end of the blazer. How does the garment sit when it is still versus when it walks? I was also experimenting with different canvases and horsehairs to ensure my blazers are standing correctly. The process of developing this collection taught me many things. Sometimes you need a break; you need to walk away from the work and rest, and it鈥檚 not giving up; it's rest. Other times you need to push your body beyond its limits; our bodies are much stronger than we think when we are passionate about something. Sometimes, you need to take apart a whole blazer the night before jury and restructure the inside, and it might just end up being your favourite piece, which is exactly what happened to me.

What are the messages and themes behind your project that you want people to take away?

I鈥檓 always intrigued by how I can communicate emotion in my work and how the viewer interprets it; making the viewer feel an emotion is something I heavily valued in my senior collection. Exploring art or experiences that aren鈥檛 conventionally beautiful and finding beauty in them is a big part of my design approach. I want my client to feel connected to my garments through a feeling that my clothes evoke in them. All of this is completed through the creation of a fantasy, a dark and overwhelming fantasy, and an essential part of that for me is custom-made accessories. All the footwear, bags, and jewellery for my senior collection were custom designed and created for The Dark Delusion of the Light; singularly, they too stand and convey my message. Another area of interest for me is exploring design with genderless motives. Tailoring is inherently gender neutral, and my silhouettes try to play on that. Along with a strong message, an evoked emotion, bespoke construction, and gender neutrality, my garments stand as a piece of wearable art to my client that aims to never go out of fashion but only age finely as they are worn.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

When observing the fashion industry from the lens of a designer, I would love to see fellow designers use their truly unique experiences to base their collections, even the ones that aren鈥檛 as pleasant or palatable. Embracing those very unique experiences is what births collections that evoke emotions, silhouettes that convey drama, and designs that we haven鈥檛 seen before. We live in a day and age where social media is oversaturated with designs and fast fashion is faster than ever; it鈥檚 now more than ever that we need you to be truly yourself. Today, people are less afraid to explore who they could be and embrace their less beautiful authentic experiences.

What are you planning to do following your BA?

I am excited to contribute to a leading fashion house, assisting in the development of runway collections while further honing my skills and vision for my own brand.

Stay updated with Peter on .

What is the most valuable thing you have learnt at university?

I began my degree studying textile design, so I thrive in the process of developing fabric, especially exploring textures and combining these to further enhance their material/yarn qualities. My time at university has taught me to be a conscious designer, to think of the wider world and the implications my practice has on not only the environment but people as well. I now see myself as a true knitwear designer, as I love the technical side of this discipline and enjoy finding creative approaches to zero-waste manufacturing.

What was the starting point of inspiration for your final project?

I am passionate about delving into society and its relationship to fashion, which led to my graduate brief that focusses on the industry鈥檚 relationship with smoking, particularly the glamorisation of this deadly habit. Negative impacts of smoking are exaggerated through fabrication and silhouette that appear to engulf the wearer, as the smoking habit does. An exploration of the amassing and staining that occurs within your body when you take up fashion鈥檚 coolest habit is glamorised, with inspiration from the 1990鈥檚 when heroin-chic was at its height. The use of bold colours, inspired by the effects of nicotine, combined with decaying, mutated knits emphasise this. Even though smoking is so deeply rooted in glamour, the aftermath can be devastating.

What form did your project take?

I love to explore multidisciplinary techniques with a particular focus on texture; this can include exploring with my choice of yarn or developing post-knit processes to create eye-catching and tactile fabrics. This was implemented in my graduate collection to reflect the effect of smoking on the body, looking at ideas of decay, staining, and mutation. Fine gauge knits, hand dying, and fluffy textures capture the glamorous relationship between fashion and smoking, shedding a new light by contrasting with themes of decay, mutations, and staining. All outfits within the collection comprise of glamorous pieces that are layered over with dramatic, asymmetric, and encapsulating silhouettes, creating a powerfully visual stand against harming our health for the sake of looking cool. This collection finds a new way for women to explore femininity and rebellion within the fashion space. The outcomes are truly intended for catwalk, but the details within them create unique storytelling moments.

What materials have you used, and how did you source them?

Dead-stock yarns help reduce waste as they would otherwise not be used and go to landfills; this limits demand for new yarn production. The university yarn store will be a great place to source yarns as well as a local charity shop and resell sights such as eBay. Dead-stock yarns sourced in the UK will be used to limit the amount of emissions created by this project.

These yarns will be manipulated to create drama and dimension, and colour will be added using natural dyes such as tea to cut out chemical impact. Not only do synthetic dyes require a lot of water to be produced and applied to the fabric, but the dye runoff can also contaminate local water supplies, harming agriculture, aquatic life, and people鈥檚 health. Cutting out this process by using only natural dyes in small batch dying will help to reduce associated risks.

Much textile waste is produced from bad-quality garments not lasting and therefore being thrown away. A simple way to reduce this is to make high-quality, long-lasting garments to stand the test of time.

How has it evolved from your initial ideas, and what have you learnt along the way?

I started this project willing to see where the concept could take me, and it has been a journey. The project colour palette sits far away from my original ideas, making the final collection much brighter than I originally planned for it to be, and although successful and eye-catching, the addition of deep purple doesn't necessarily correlate directly back to my concept but was added in due to colour theory to accentuate the yellow undertones in the tea stained fabrics. By using the orange viscose throughout the outfits, particularly within pleats, the looks are cohesive, although very different from each other.

The textures created encapsulate my key words of mutate, growth, and decay, with various successful domestic, dubied, and shima fabrics being developed in a variety of gauges and techniques, creating a wide range of fabric handles and qualities. They are able to juxtapose each other yet sit together in a cohesive way to communicate concepts. As this is a part of the design process I thrive in, my knit development has been stronger than the silhouette development in this project.

My collections approach to silhouette development has resulted in a visually exciting range of pieces that tackle sustainability in a successful way. I have minimised waste where possible, with the majority of my silhouettes being made from creative pattern cutting and draping involving using strips of knitted fabric to cut out traditional cut and sew techniques. Where possible, I have shaped panels using fully fashioning; however, there have been some points where I have had to cut and sew, such as in the arm and neck hole of outfit one鈥檚 sleeve, but this has been kept to a minimum. If I had more time in this collection and could develop it further, these pieces would be fully fashioned, or alternative alterations to the panel would avoid waste being produced.

What are the messages and themes behind your project that you want people to take away?

鈥淲e know smoking isn't good for us. The problem with fashion is it's about rebellion." (Kwel, M., 2019) Glamorous, rebellious, and cool connotations to smoking are the reasons that women, in particular, start.

Research shows that women are deterred from this habit when anti-smoking imagery is centred around its outward-facing effects; 鈥淪moking concession campaigns have reproduced the idea that smoking is unfeminine." Haines-Saah, R. (2011)

By using the inward effects of smoking and putting them on display on the outside, I will be able to draw awareness in a way that is shown to get people鈥檚 attention. Creating confidence for a new generation in a healthier way.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

I would like to continue to build collections around ethical/societal issues in the future, and for this collection in particular, I will explore alternative ways for adolescent women to develop self-confidence and sexuality without harming their health.

Looking into glamour and rebellion as themes within fashion trends today will help me achieve this, giving young women an alternative outlet of self-expression.

What are you planning to do following your BA?

My time at university has taught me to be a conscious designer, to think of the wider world, and to consider the implications my practice has on not only the environment but people as well. Developing skills such as fashioning, in terms of both calculations and practice, and the awareness I have about ethical and sustainable yarns, it comes naturally to me to want to work as part of a sustainable brand that specialises in knitwear, as this would continue to give me the opportunities I relished in my university experience. My design identity is fun, experimental, and creative. I am able to create strong concepts from conceptual ideas and am drawn to runway and fashion week shows for inspiration.

I thrive in the process of developing fabric, especially exploring textures and combining these to further enhance their material/yarn qualities. The privilege of being able to be creative within high fashion draws me to this market level. I aspire to work for a brand that falls in line with my morals as a designer while being playful in texture and curating experimental runway shows.

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What is the most valuable thing you have learnt at university?

Something I am extremely grateful for at AUB is that they teach you the basics of every area and allow you to experiment and learn so many different skills in order to find your strengths. From digital fashion technology to traditional textiles, to creative pattern cutting, and to knitwear鈥攜ou get a taste of all of it. All these opportunities meant that going into my final major project in my third year, I was confident in the skills I have developed and had a clear vision of what I wanted to accomplish. One of the most important skills I learnt was how to analyse trends and carry out in-depth market research. This was something I developed during a group live brief unit where we collaborated with streetwear brand 鈥楬ome Grown鈥�. Learning how to successfully research a fashion brand and understand its target consumer was really important when I started developing my own design philosophy and personal brand identity. It also helped me with understanding trend analysis, subsequently leading me to the GFW24 Trend Forecasting Award.

What was the starting point of inspiration for your final project?

My initial inspiration for my final major project came from my grandparents鈥� uniquely contrasting pastimes: my grandfather鈥檚 passion for husky racing and my grandmother鈥檚 dedication to patchwork quilting. The collection draws garment and hardware inspiration from the durable, protective outerwear worn by my grandfather and traditional husky racers. I also looked into the evolution of expedition wear from the early 1900's鈥攍ooking at explorers like Robert F. Scott and Roald Amundsen鈥攖o modern-day extreme sportswear brands like Moncler and The North Face.

The print and textile story of my collection was drawn from traditional quilting techniques inspired by my grandmother, aiming to evoke a sense of home comfort and warmth, reminiscent of returning from a harsh, mountainous terrain, blending functionality with a personal narrative.

What form did your project take?

My project is a 5-look menswear collection marketed for A/W25. The looks consist of articulated trouser legs and uniquely shaped knee pads鈥攁 nod to the practical expedition wear and husky racing garments that I initially researched. Also huge puffer sleeves, which run constantly throughout the collection on shirts and coats. I incorporated knitwear in the form of an oversized patchwork jumper and chunky leg warmers. My quilt print is also a consistent feature throughout the collection, displayed on digitally printed water-resistant fabric and then stitched into with a flatbed sewing machine to create a unique texture that appears on multiple garments. Finally, my styling pieces were oversized bomber hats with faux fur trims, another reference to my initial research, summarising my concept exploring comfort and practicality.

What materials have you used, and how did you source them?

As my concept explores the juxtaposition of protective outerwear and extreme winter sportswear with warm, cosy quilts and knitted jumpers, I wanted my fabric selection to reflect that. My plain fabrics were sourced from Paris and London, whereas my digitally printed fabrics were printed at my university using sublimation techniques. I contrasted water repellent fabrics such as nylon and gabardine with soft fleecing and alpaca wool, along with faux fur trimmings. The hardware details on my garments were very important to me. I used silver metal snap hooks for my fastenings, which were inspired by dog sled racing equipment. I also used chunky metal YKK zips for all the pockets on my trousers and jackets.

How has it evolved from your initial ideas, and what have you learnt along the way?

My graduate collection was constantly evolving throughout my final year鈥攊n particular, my colour scheme went through multiple transformations before I finally decided on what colours I wanted to use. Colour matching all my sourced fabrics with the patchwork quilt print and all the yarns for my patchwork jumper was one of the most challenging parts of building my collection. However, it was probably the most important skill, as it taught me how to make my collection as cohesive as possible. The silhouette of my collection also evolved a lot through draping with sleeping bags, outerwear garments, and husky racing equipment. I created my designs by sketching and collaging these drapes together. These designs started to evolve in the toiling stage, as I began to use the silhouette inspiration to create practical garments that appeal to my target consumer.

What are the messages and themes behind your project that you want people to take away?

I wanted my project to reflect the importance of 鈥榟ome comfort鈥� and the warmth of being around the people you love. My collection is called 鈥楬ome Route鈥� as it tracks my grandads journey home after sled racing in the mountains. The collection is a love letter to my childhood spent with my grandparents and their unique yet wonderful passions. I want people to feel nostalgic when they see my collection and maybe remind them of their own childhood memories.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

I think sustainability is something that all future designers should be taking into consideration. During my final project, I tried to be as sustainable as possible by using dead stock fabrics and scraps for my patchwork shirt. I also used my scrap yarns to create my leg warmers and leftover fabrics to make my styling pieces with. I think the incorporation of digital technology will have a massive impact on how brands handle sustainability; for example, the use of Clo 3D means brands will be able to create digital prototypes of garments without wasting fabric. During my time at university, I learnt how to make digital layouts on Lectra, which were more space-efficient than physical layouts, meaning less fabric waste. These little steps may seem small, but I believe they can have a huge impact, and it is up to our generation of designers to ensure we do everything we can to make the fashion industry more sustainable.

What are you planning to do following your BA?

Following my award at GFW, I was invited to have an interview with Next for their trainee design program, and, after completing a project for them, I was offered a 12-month contract. So, as of October 2024, I will be starting my position at Next in the menswear design department, which I am really excited about. My dream role in the future would be a head designer for a menswear fashion brand.

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What is the most valuable thing you have learnt at university?

Learning how to curate research, design, and finalise projects set to major industry briefs. The process of design and product, understanding how the imagined design has to relate to the functional and wearable while keeping the core ideas behind it.

What was the starting point of inspiration for your final project?

I am inspired by traditional slogans, emblems, crests and phrases, rewording them and screen printing them to question the integrity of our current government, the monarchy as a symbol of "Britishness", and holding a 14-year-old Tory tenure to account. These political themes are recurring sentiments in graffiti around Brighton. As citizens, we navigate a tumultuous time in British politics, and my work represents a feeling of distinct and profound change in young people's political and ideological beliefs.

What form did your project take?

My project took on the form of a six-look collection composed entirely of printed garments. Print is imperative to "political optics" and message sending; therefore, I deploy it liberally in meaning and in fabrication. Using only second-hand garments, I have placed new meaning onto the traditional "Britishness" in order to reclaim patriotism from right-wing scaremongers, giving our country a new meaning: of unprejudiced inclusivity and solidarity, curating a look of 'diverse harmony' that exists within our union today.

What materials have you used, and how did you source them?

I used second-hand clothing to create my six looks; each look was based on a type of clothing I see regularly at charity shops. Look one was made from second-hand t-shirts, look two from men's work shirts, look three from jumpers, look four from denim, look five from hoodies, and look six from suit trousers. All my materials were sourced from charity shops or clothing going to landfills, which highlighted the responsibility we have as consumers to mend, upcycle, and reimagine our clothes before we throw them out.

How has it evolved from your initial ideas, and what have you learnt along the way?

My initial ideas were based on protest art and fashion; I carried this sentiment through each look and the whole collection. My collection evolved from the first look by using deconstruction/reconstruction techniques to create more powerful silhouettes. I also learnt the ability to use negative screen printing techniques, which gave the garments and the prints better depth.

What are the messages and themes behind your project that you want people to take away?

This final graduate collection references past, present, and future struggles of the Union of Great Britain: Wales, Scotland, Ireland, and England. Traditional slogans, emblems, crests, and phrases have been reworded and screenprinted to question the integrity of our current government, the monarchy as a symbol of "Britishness," and hold a 14-year-old Tory tenure to account. As citizens, we navigate a tumultuous time in British politics, and this collection represents a feeling of distinct and profound change in young people's political and ideological beliefs. Print is imperative to "political optics" and message sending; therefore, it has been deployed liberally in this collection in meaning and in fabrication. Using only second-hand garments, I have placed a new meaning onto the traditional "Britishness" in order to reclaim patriotism from right-wing scaremongers, giving our country a new meaning: of unprejudiced inclusivity and solidarity, curating a look of 'diverse harmony' that exists within our union today.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

I am passionate about using existing garments we own to write, draw, and express progressive political views and policies. We can showcase our fundamental morals and beliefs on our bodies, and by making old clothes new again, we are communicating to the world how beautiful, liberating, and important our views are.

What are you planning to do following your BA?

I am currently seeking a design position in print manufacture and process, selling my work through my Instagram, and currently working on commissions for local museums and businesses around Brighton.

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What is the most valuable thing you have learnt at university?

The most valuable thing I learnt at university was the ability to collaborate. The industry is built on collaboration; the ability to work with so many amazing creatives and the opportunity to experiment in a safe space was the most valuable experience. I met so many talented students and still keep in contact with them now, continuing those collaborations.

What was the starting point of inspiration for your final project?

My final project was based on my own relationship with fashion. As a male presenting individual, I enjoyed experimenting with fashion and redefining what menswear looks like. Bringing more feminine silhouettes into menswear and breaking down the barriers between menswear and womenswear more. Fashion is made to be enjoyed, and gender shouldn't restrain how individuals want to express themselves and dress.

What form did your project take?

My project was in the form of a print publication. MASC Magazine includes interviews, articles, editorial fashion photography, and showcasing creatives and designers. With over 30 contributors to MASC, from photographers to writers, it was a huge effort to showcase creatives and show everyone what MASC could become if fully developed.

What materials have you used, and how did you source them?

MASC was a print publication, printed and delivered through MIXAM. In addition to the print publication, MASC also developed marketing materials like posters and low-cost print newspapers promoting its first issue. The posters were also printed through MIXAM, and the newspapers were printed through Newspaper Club.

How has it evolved from your initial ideas, and what have you learnt along the way?

By December 2023, I had worked on an initial issue showcasing what the finished project might look like, almost like a skeleton of the finished piece. Then, by June 2024, MASC was established. Working on it's branding, to make it more unique, put together multiple editorial shoots, conducted more interviews, and put together more articles, making it the issue it is now. I learnt how to juggle so many roles as the editor; there was no budget and not a team of people to help. I really learnt to reach out to other creatives for help and juggling multiple roles at once.

What are the messages and themes behind your project that you want people to take away?

The core message behind my final project was ''Freedom'鈥攆reedom in creativity, style, and expression. Redefining what mens fashion looks like and also redefining what the menswear audience is. At MASC, I aimed my publication at'male presenting' individuals; this eliminated any need for biological gender or identity to restrict the audience and left it open to anyone who presented as male or wanting to purely experiment with fashion.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

As stated before, the barriers between menswear and womenswear need to be taken down. Fashion should be made to be enjoyed by all; fashion is a means of expression. In addition to this, MASC was also founded to showcase new talent and give a platform to new creatives. As a recent graduate, I understand the struggle of breaking into the industry. The magazine will focus on showcasing new talent and finding emerging creatives of all walks of life to showcase within the publication.

What are you planning to do following your BA?

As of July '24, I have moved to London to pursue fashion styling and creative direction. In the hopes to land some freelance work, as well as continue MASC Magazine and grow it to what I know it can be.

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What is the most valuable thing you have learnt at university?

The importance of idea generation rather than focussing purely on construction and sewing skills. Revolutionary ideas and concepts are 100 times more valuable than a well-made piece.

What was the starting point of inspiration for your final project?

I experienced a lot of loneliness and disconnect in my final year and found solace and connection in nature walks and being outdoors. I wanted to create a collection that expresses the importance of this connection between man and nature and makes the viewer reflect on the relationship we have with nature, especially within the context of the fashion industry.

What materials have you used, and how did you source them?

I created an entirely biodegradable collection, made from organic hemp and cotton blend denim, Seacell jersey, and hemp and cotton sweatshirt fabric. I sourced them from a known organic fabric retailer after researching their supply chain. I grew kombucha fabric as a 鈥榣iving鈥� element to connect the wearer to the clothing and add interesting textures that represented paths of connection. I also created my own milk casein buttons to avoid metal fixtures by mixing milk and vinegar to create a dough and then baking it in the oven. I also used natural dyes that I extracted from the plants, such as madder root, liquorice, and annatto orange.

How has it evolved from your initial ideas, and what have you learnt along the way?

It has evolved through experimentation in creating bio fabrics. I learnt how to properly dye fabrics with natural pigments and found natural mordants, such as wine tannins, to create vibrant colours. I learnt how to grow bio fabrics, the issues and problems with mass production, and how important it is to properly represent your collection through photography, i.e., picking a suitable photoshoot location to play off the concept and clothing. I chose an abandoned lacemaking mill to emphasise this disconnect between man and nature and our overconsumption.

What are the messages and themes behind your project that you want people to take away?

I want to show that sustainable clothing is not as difficult to make as large-scale companies make it seem. While I discovered many difficulties in the production of biofabrics, with investment and more experimentation, it is possible. I used the collection to show our disconnect from the world, which gives us all the resources we use every day, plants, water, etc.

What鈥檚 an aspect of the fashion industry that you鈥檙e passionate about fixing or having a positive impact on?

Sustainability and the use of natural dyes鈥攎y project showed the limitless possibilities of natural dyeing at a commercial scale.

What are you planning to do following your BA?

Continue my education looking into fashion media and photography, as well as focussing on sustainability in the industry. I would love to work as a sustainability officer and be able to impact the processes within a business.

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