Spanish-born CSM BA Fashion Design and Marketing graduate Claudia Girbau Pina approaches her designs as architectural experiments, describing her garments as “jackets, worn by a person, but buttoned to a wall.” While she initially found the autodidactic method of Central Saint Martins “disorientating,” her final collection is a refined exploration of the feminine subject in the masculine, modern city; fitting, as she packs her bags to explore another European fashion capital.

Claudia was born and raised in Barcelona, and from a young age, she dreamt of pursuing something creative. “I’ve been filling sketchbooks with drawings of women ever since I can remember,” she explains, as she recalls her early years of creativity.  At the age of 15, she enrolled at Central Saint Martins for a summer course in fashion design, and she was immediately hooked. After high school, she eagerly went straight to the foundation course of the same institution, before embarking on a BA in Fashion Design and Marketing.

Claudia’s garments appear as sculptural manipulations and distortions of the human shape and body. For her graduate collection, viaduct and wall-like architectural structures merge with recognisable, classically tailored pieces. Using foam planes bonded with tweed, she explores sculptural territory but through fashion-familiar means: “I wanted to use very traditional fabrics that would make the structural silhouette more relatable,” she says. She began applying bonding techniques to tailoring in her second year, when manufacturer Dyloan Studios came to do a collaborative project with her pathway, Fashion Design and Marketing.

“The effect I wanted to achieve with these straight planes that fit on to the body was that of a jacket worn by a person, but buttoned onto a wall.“

Her shapes echo the work of sculptor Joseph Casky, but are not kept to a surreal or abstracted imagination – they appear actual, wearable, as they are presented on moving female models. They are at once architectural experimentations and high fashion garments – deceiving the eye as they reflect upon the human figure, in art, fashion and architecture. “The idea of trompe-l’oeil has been quite recurrent in my project,” she says, explaining how she wanted to expand this idea onto a larger scale, resulting in an actual manipulation of the human silhouette. “The effect I wanted to achieve with these straight planes that fit on to the body was that of a jacket worn by a person, but buttoned onto a wall.“

Despite her strong sense of self-motivation, Claudia initially found CSM’s infamous autodidactic method “disorientating” – left to her own devices, she was forced to introspect and generate her own teaching method. “You realise your own curiosity is the best learning tool you have,” she reflects, and indeed, teaching herself paid off: her placement year led her to prestigious internships at J.W. Anderson and Vivienne Westwood. “Now, after graduating, I realise how lucky I am, and how many doors this school opens for you.”

“You realise your own curiosity is the best learning tool you have”

Inherent in her work is a critique of modernism – a period characterised by a masculine hegemonic aesthetic, both in architecture and art. As the female subject reclaims her status in society, a dissonance becomes visible; “in terms of scale and aesthetics between the modernist urban planning principles of the 50s and the people who lived in those sites,” she explains. “With these pieces, I wanted to create a sense of continuity between the human body and those massive concrete buildings [of the modernist city]. The wearer adopts the architectural language in order to harmonize with a modernist habitat.” She mentions Michelangelo’s Antonioni’s 1961 film La Notte as a prime example of the lack of harmony between the main female character and the city she lives in. As she opposes and contrasts the archetypal feminine and masculine ideals, she articulates a discourse on gender; but to this, she adds: “I would say the concept of the collection specially relates to womenswear. Although, considering the new direction in menswear, I am not sure making gender distinctions makes much sense any more.”

After having spent the first five years of her adult life in London, Claudia is ready to once again have a change of scenery and context. She plans to move to Milan in the immediate future to look for a job in the city’s fashion industry, which operates so differently from London. “I want to move to a totally different scenario and see how can I adapt,” she finishes. “I think moving into another completely new country is something I won’t be able to do when I’m older, so I want to take the chance now.”

Words by Jeppe Ugelvig
All images courtesy of Claudia Girbau Pina

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The Mancunian Central Saint Martins graduate Rebecca Jeffs almost had a nervous breakdown when she enrolled at Central Saint Martins, but found the “blood, sweat and tears” of the Womenswear pathway all worth it, interning at Dior and Margiela before presenting a collection that explored how fashion distorts the human shape. Savile Row tailoring, velcro, wedding shoes and 5,000 hand stitches all meet in the universe of Rebecca Jeffs, whom we spoke to as she embarks on the new chapter of her career.

Rebecca grew up in Manchester in the north of England, where she spent her childhood years designing, dreaming about costumes, and creating visual characters for her friends and pet dog. In 2008, she came to London in after finishing school to acquire a one-year diploma at London College of Fashion and continued immediately at Westminster for its fashion degree, but took the decision after one year to transfer to Womenswear at the neighbouring Central Saint Martins. “I was attracted to the lack of restriction within CSM and I wanted to be surrounded by people and talent that would make me question and challenge my work and myself,” she says as she recalls her first days at the institution. “It was really exciting, but I put a lot of pressure on myself and nearly had a mental meltdown… I’m glad that it happened early on, as I then managed the rest of my time there much better!”

Rebecca’s research circulates around fundamental questioning of the basics of clothing and body: the justification of the cut and construction of garments, their asymmetric interaction with the body, the complexity of the female form. “I’m interested how clothes have been built around the body throughout history, and the various ways in which we have attempted to shape it,” she explains. This led her to discover the work of Benard Rudofsky, the Moravian artist and architect who in his work sculpted figures and body parts as though imagining an underlying shape of the body in a humorous yet poignant way. Inspired by this idea of distorting the human shape, Rebecca collaged together a timeline of corsets (fashion history’s biggest distortion of the human shape) from 1800-1900, to develop a series of asymmetric obscured silhouettes. “I came across images of pregnancy and maternity corsets, with lacing that could be released as the pregnancy developed and openings with a clasp on the breast for feeding. It just seems insane now, but it really struck a cord,” she explains.

“I put a lot of pressure on myself and nearly had a mental meltdown… I’m glad that it happened early on, as I then managed the rest of my time there much better!”

Pin stripes run through Rebecca’s graduate collection in her silk jacquard trousers as an ode to her time at Savile Row, where she as a design assistant for Nick Tentis witnessed the intricate technique and craftsmanship of classic menswear. “It taught me the refinement of classic menswear and the consideration of the smallest details,” she tells us about the complicated process. “I must have toiled about 15 pairs of the asymmetric patchwork trousers. One tiny alteration caused a domino effect of changes. I really enjoy creative pattern-cutting, but it’s a battle perfecting the final pattern, knowing that the final result is a millimetre out…”

This sense of obscurity prevails in her graduate collection, which developed as she was writing her bachelor’s dissertation. She became obsessed with early Modernist theories of dress, Italian futurism and utopian ideals of clothing and femininity, informed by the work of female Russian constructivist Varvara Stepanova. “They had quite contrasting opinions of the power and place of dress in society yet they seemed to make sense together,” she reflects. “Stepanova believed clothing should be designed and be treated just as a machine – why conceal all that makes it work and how it is constructed. The Italian futurists believed that clothing could create political change.” The highlight of the collection is a dress in a deep ochre, made from vintage millinery grosgrain ribbon, completely hand-stitched (“about 6,000 stitches – thanks to my helpers.”) to achieve a lavish couture detailing.

Rebecca had acquired invaluable technical training when she midway through her degree moved to Paris for a year to further her practice with some of the greatest designers in the world. She interned at Christian Dior under Raf Simons and after, Maison Martin Margiela’s Artisanal line under the just 31-year old Matthieu Blazy. “Working at Margiela was an invaluable experience for me, he is really talented and so young!” she says of Blazy. “It was incredible to see the whole collection develop from start to finish in such a close environment, working side-by-side with the designer and atelier. There was real value and consideration in each idea and piece, which gave me the confidence to work this way.” By spending time in two very different (Dior being hierarchal corporation and Margiela being a collaborative collective), but equally reputable fashion houses, Rebecca learned the value of editing and refining – without treating her ideas as throw-away things. “I learned to work with an idea until you had squeezed the best out of it!” she adds.

Vintage white satin bridal shoes, delicate ribbon, wig-like headpieces, a man’s classic white shirt, pinstripes, and corsets; From the boyish to the overtly eroticised feminine, Rebecca’s oeuvre negotiates different kinds of womanhood, and is as such both celebratory and critical. She considers fashion, which has been the vessel of much gender-typing in society for centuries, a “double-edged sword” for the discussion of how we perceive women today. “I think the popular promotion of fashion is at fault for much that is wrong with the representations of women today, but it’s also an advocate for moving this forward and eliminating it,” she says, as she explains how she developed her concept of questioning femininity. “By exaggerating, highlighting or revealing certain areas of the body but also distracting from and concealing others to create a romantic but alarming nuance.” This sentiment certainly came across, with Suzy Menkes describing it as “Girls on fire. For once, the woman’s look is matching the new power of the fashionable male.”

“I think the popular promotion of fashion is at fault for much that is wrong with the representations of women today, but it’s also an advocate for moving this forward and eliminating it”

For the official show, Rebecca styled her fantastic looks with floppy ribbon head pieces, inspired by the bizarre styles and extreme size of wigs worn in the 19th century that often included ribbon. “I didn’t want to adopt the classic techniques of merely decorating, I wanted to off-play it, wrapping and folding it around the head in a messy manner.” She collaborated with CSM jewellery student Ami Masamitsu to create the sleek silver closing mechanisms, creating a clean and very modern expression in the otherwise saturated collection. “Using mainly white fabrics was an accident waiting to happen,” she reveals in retrospect, “but honestly, it was the point in which I made the decisions as to which looks I would present – committing to my final line-up.”

After much blood, sweat and tears (literally) in many years of fashion college, Rebecca Jeffs is more than anything, ready to work. “I want to be challenged by the real world, working with other creatives professionally,” she reflects. “But I don’t feel ready to let go of my own vision and ideas. I have so much more I would like pursue within my own work.”

Words by Jeppe Ugelvig
All images courtesy of Rebecca Jeffs
Photo shoot by Maxime Imbert

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Robert Wallace has a straight-to-the-point approach to his fashion design without too much focus on concept, concentrating instead on the precision and cleanliness of his toiling, which his graduate collection from Central Saint Martin’s BA Womenswear was a masterly exercise in. As he contemplates the next step in his practice — a spot on CSM’s prestigious MA Fashion course awaits — we speak to the designer about bondage references and what happens when you say “fuck it, I just need to make something.”

To Robert, the Womenswear pathway of Central Saint Martin’s BA Fashion course was the only real option for him. He consciously focuses on the clothing itself, without much attention to embellishment or print. “The silhouette is what interests me  most,” he explains over e-mail. “I can appreciate all the other stuff, but personally, when I work it’s never something that has the strongest draw for me.”

“I never really aimed for there to be a specific concept behind it, which perhaps in hindsight was detrimental, but c’est la vie.”

Kept in white and shades of pink and moss green, Robert’s graduate collection is a playful exercise in textile manipulation, and how it actively re-shapes the wearer. Tailored jackets are distorted with a shawl collar and paired with asymmetric half skirt/half shorts bottom pieces. Incredibly whimsical in their expression (his manipulated tops evoke wrinkled skin), the garments are left clean; achieving some kind of balanced maturity, paving the way for a more profound appreciation of the incredible craftsmanship that goes into creating such pieces. His research shows far and wide-reaching inspiration, but is always united by an attention and fascination for textile manipulation, and particularly, toiling, which came to direct his whole project. “I never really had a specific idea that I wanted to go back to with the design or research, so it really developed just through the toiling itself, and then I tried to include  whatever I found interesting at the time,” he says of his loosely-guided process of creating his final collection. “It was playing around a silhouette of the body, and taking away parts of that silhouette. I had a pair of trousers with a cut-out for a toile that was really the basis for the everything, and something I would always come back to.” As I mention some recognisable references to bondage, he welcomes that observation, whilst denying that it was a conscious reference in his conceptual development. “ I’m generally interested in clothing that is aware of the body. But when I started the collection I never really aimed for there to be a specific concept behind it, which perhaps in hindsight was detrimental, but c’est la vie.”

 “I definitely feel attracted to work with a smaller, more intimate brand than a massive corporation.”

Robert’s simplistic collection seems full of objectives it tries to convey, but he admits how difficult he actually found the process of creating a whole collection. “I really had no idea what I was doing, or what it meant to create a collection, so I found it incredibly difficult,” he explains. “In the end, I was just like ‘fuck, I need to make something’. It was an experience, and for a first time making a collection, I feel that I managed to just managed to scrape through.”

In his placement year, Robert wanted to travel more than anything; seeing different cities around the world and experience what they might have to offer, outside the various internships. Nonetheless, he procured himself a spot at John Galliano in Paris, where he for the first time had the experience of working in a full-functioning atelier. “It was amazing to see how they work,” he recalls. “The attention they pay to their craft is inspiring and beautiful to see.” Other internships include Marchesa in New York and J.W. Anderson in London, but it was in the studio of Copenhagen-based, Antwerp-educated Freya Dalsjø that he had his best experience: “her approach to working with other people is so refreshing, and we were incredibly involved in all aspects of design. I also spent more time there making than anywhere else I had been, so in a purely technical point of view, it was the most educational as well,” he says. Jumping from city to city, Robert learned how different approach to design is across the world, and gained a valuable lesson for his future career: “I definitely feel attracted to work with a smaller, more intimate brand than a massive corporation,” he admits.

The internal show day was to Robert “an odd experience, and I can’t say it was entirely enjoyable,” but he enjoyed seeing what his colleagues on the different pathways had done. “There’s a lot of hype and I don’t think it lives up to it,” he argues. “By that point, you have seen your work so much and overthought it many times.” The press show on the other hand went much more smoothly, and Robert expresses how incredibly grateful he is for having been chosen for the highly competitive showcase.

Looking ahead, Robert is not too sure what the future will hold. After graduation, he was offered a place on the MA course of CSM, which would be unwise not to consider — the offer still stands while he contemplates his next step. “I have interests outside of fashion that I would like to pursue if I have the opportunity,” he reveals, “and although I love the process and the work within uni, I am not so enamoured with working within the fashion industry at the moment. I feel incredibly young compared to some of my peers.” With no fixed agenda, he is happy to see what evolves in the next six months — perhaps even starting a cooperative or collective. “That would be my ideal,” he finishes.

Words by Jeppe Ugelvig

All images courtesy of Robert Wallace

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London Fashion Week’s schedule may be ‘murderous’ because of its amount of shows, presentations, and events, but never before has there been a time where so much young talent got together to show their work to press and buyers. While taking a break from LFW and gearing up for Paris, have a look at the talents whose names might be on the future show invites: this year’s BA graduates.

Styled by i-D’s New York fashion director Tracey Nicholson, who graduated from Central Saint Martins, and shot by Casper Sejersen, we show the designers’ first steps into the fashion world.

Top image – dress by Jim Chen Hstang Hu

Rebecca Jeffs

Tingzhi Liu

Qiying Fang

Pedro Mantua

Markus Wernitznig

Rebecca Jeffs

Tingzhi Liu

Robert Wallace

Daniel Fletcher

Markus Wernitznig

Wataru Tominaga

Pierre Campo

Lee Bodkin

Markus Wernitznig

Gabriel Castro

Pedro Mantua 

The post Issue 3 — First Step: The CSM BA Fashion graduates of 2015 appeared first on 1 Granary.

In an industry that seems to be led, according to several fashion design students, by merchandisers who rule with spreadsheets and figures, experiencing the BA Fashion graduate show gives hopeful energy. The name Central Saint Martins has long been synonymous with a college that allows those within its walls to dream: it’s the ideas that should matter, not the commercial appeal. In true Willie Walters-style — who joined CSM as the Womenswear course leader in 1992, has been the Head of BA Fashion since 1998, and will leave together with this year’s graduates — the show opened and closed with a theatrical bang. While the pre-show installation featured Chiara Tommencioni Pisapia’s collection — a pun on domestic labour, where a model wore not only the elaborate chunky knit that spread over the floor, but was also mop that cleaned it, alongside looks resembling the acts of ironing and trash-sweeping — the show came to an end with another familiar household item, which acted as the sole fabric of Edwin Mohney’s bulky oeuvre: duct tape.

“We don’t follow trends here, we set them,” is a phrase that Walters once famously snapped at somebody. The prizes for the most promising tastemakers, then, went to Soyoung Park, scooping the first prize of the L’Oreal Young Talent Award, with Yuhan Wang and Adnan Jalal Salman as first and second runner-up respectively. There was no shortage of exposed breasts or bums, neither was it lacking political statements, which in previous years were expressed by graduates like Tigran Avetisyan, Daniel Fletcher and Ryohei Kawanishi. Philip Ellis heavily referenced the upcoming Brexit referendum, for which he will vote Remain. “There’s a nice patch with David Cameron holding a piglet on it, which references Piggate,” he told us. “Everything is inherently political, but I think fashion, and especially the show, is a really good platform to kind of discuss issues that are important.” Carmen Chan’s gang of half-undressed stickered-up girls with wigs in erogenous zones used the catwalk as an opportunity for feminist protest, through slogans like ‘sex hair don’t care’, written (cutely) on quilts doodled by children, seemingly addressing the larger conversation around the Instafamous nipple and pubic hair debate.

The anxieties attached to coming of age, intimately felt by most at CSM, were most notably embedded in the work of Liam Johnson, whose larger-than-life pieces focused on “feeling super restricted, or restrained, or overwhelmed, or crushed or stuck.” One harrowing detail was found in the work of Jiale An, where hands were attached to shoes, almost as if trampled underfoot. But while ‘the struggle is real’, as us millennials like to say about many a life problem, we would not have come to the point of being able to present outpourings of emotional troubles, joyous experiences or sheer madness to the press and public without Willie Walters. After Mohney’s duct tape family of freaks trailed off the runway, the head of college, Jeremy Till, honoured Walters in his speech. Walters, who graduated from Saint Martin’s 45 years ago and has been the college’s BA Fashion course director for 18 years, can rightfully be credited for having solidified a spirit of creativity and controlled craziness at CSM. While Walters would argue that it’s not a solitary effort, but that of an entire team, Till reflected that to create anything, you need one person who can lead.

Willie Walters has been an true leader, revered by  students, staff and alumni, who all remember her with fondness. The students behind this year’s Encore presentation, showcasing the work of designers who didn’t feature their collections in the Press Show, dedicated the show to Willie, and commemorated her legacy with heart.

“Encore is dedicated to Willie Walters. Thank you for your guidance, wisdom, and support you have given to the fashion students of Cental Saint Martins. We are all honoured to have had the opportunity to study under you as your last graduating class. You are legendary and a true icon.”

Words by Jorinde Croese

Photography courtesy of 1 Granary

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This year, like last year, the Central Saint Martins BA Fashion Press show was not the whole picture: it consisted of less than half the collections made by the graduating class. On West Handyside street (opposite the Waitrose), the majority of CSM BA Fashion students were supposed to present their ‘Encore’ show, displaying the work of over 40 students that was not being shown on the runway. Just before the event opened, we caught up with the final year Culture, Criticism and Curation student Nadia Cuvelier, who spearheaded @Encore.csm. The presentation did not go entirely according to plan, however, as discontented students ‘broke free’ from the designated space. We also spoke with a few of the designers, in the video below, to hear their thoughts on the night. 

Tell us about what you hoped to achieve with Encore?

Nadia: For me, the most important aspect of all of this, is to create a platform that can be recreated and developed in the years to come. As a CCC student, we spend most of our time working in an academic context, so to be able to work on this project has been really rewarding. Everyone’s work is of a really high standard. CSM students are always busying away, held up in their studios, and it’s really great to see all their work out in the open, and to experience this side of Saint Martins.

This place cultivates some amazingly talented people, the show is so perfectly CSM — it is its own spectacle. It is a proper show. I wish that I had more time, but everyone wishes for more time. There is only so much curation you can do with what you have, but I’m excited to see the finished result.

How do you feel about the selection process for the Fashion Show?

From their [the CSM staff] eyes, they’re showing the press a snapshot of the graduating class. It is never going to be easy for them either; they have seen these students grow over multiple years now. But to make a successful show, sometimes there have to be sacrifices.

How will the show work this evening?

I saw what they did last year and I wanted to take it a step further. But no one realised the true scale until a week ago. Our show is a presentation, rather than a runway: I want the press and the public to go up close and witness it. Runway is always a snapshot, it’s always in motion. But with our show you have the power to really see it. We have two stages and each stage rotates every 5 minutes or so, so there is still an aspect of movement.

By being in a public space, there are some different rules and regulations we have to adhere to, and this has been a challenge, but I think everyone will be happy with the result.

I’m indented to the hard work of CCC students Nicolette Sim, Andrea Ayuso, Camille Bureau and Thomas Ba. Everyone has taken time out of their hectic schedules to make this come alive. And, of course, the show wouldn’t be happening if it wasn’t for the fashion designers graduating year, including Grace Lant, Holly Davies and Liam Johnson. This is a collective effort and it really shows. I would like to finally thank Willie Walters, who’s been incredibly supportive of our endeavours.

Words by Roman Sheppard Dawson

Film by Andrew Jonathan Smith, interviews by Alexandre Saden

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Earlier this month, Ukrainian designer Sergey Grechka opened the Central Saint Martins BA Fashion Press Show. He presented a heavily introspective graduate collection, the story of which travels back to the designs he created in his second year. “I had a few dark moments,” he reflects on his former melancholic state of mind, coming forth partially from a disconnect with his family, due to war actions that took place in his home country. The accumulation of thoughts and feelings influenced the work he would go on to make during his last year at CSM: the colour choices, the shapes and development methods. “I didn’t struggle finding inspiration for my final project,” Sergey shares, “It is a reflection of my thoughts on sexuality, gender roles, violence, attitude and behavior. These are present in everyday life and drive my curiosity.”

When working with abstract concepts, where do you start your research and gather imagery? How do you make an idea more tangible?

Usually I don’t collect too many images. My research is normally very broad — I select key images to represent the idea and then I move straight to the development stage. I look a lot at materials and their visual effects. I find it hard to surprise an audience with cut or embellishments; I’m not a decorative designer. I put a lot of thought into the project elements and their correspondence with the concept. As part of my research, I visited the V&A archive a few times, where I had the chance to examine six original looks from the 1920s.

Do you get inspired by every brief? If you don’t, how do you approach that “block”? How do you make projects work for you?

When given a brief, I would try to find an element that interests me the most, something that I could relate to. It’s funny, as all the 50 Womenswear students work on the same brief, and sometimes the starting point could be similar, but the final result is never the same. Each of us transforms the project according to personal style and vision. For the tailoring project we were asked to look at cars. I’m not a great fan of automobiles, I don’t drive. Despite the fact that I had no major interest in the theme, I focused on the aerodynamic shape of the object, and tried to interpret a car’s panel seams into garment finishings.

Where do you start your development process? With samples, draping, drawings or collages?

My ideas don’t come with a pencil — I find it hard to draw from my head. Through the years of study at CSM, I developed a way of designing that suits me. I would normally start by manipulating real materials on the dummy, and taking a lot of pictures of the shapes and silhouettes. It helps to immediately see how materials work together; the proportions, the color combinations. I simultaneously develop the fabric samples and finishings; then I move to the analysis stage, and then I’d carry on iterations of the elements.

How does the conversation between 2D and 3D work for you? Design, make and then re-analyse and re-work it again?

My practice is mostly 3D. I’m not a great illustrator but I have other strengths. I understand patterns and construction really well, I’m good in draping and making. I’m a perfectionist. I always manage to make the things I imagine. I’m also quite stubborn and choose things that are challenging. Cy Twombly is a painter who influenced my practice a lot, I love his chaotic paintings. I adopted his style into a spontaneous draping technique, which helps me a lot at the first stage of the project.

What was the starting point of your graduate collection conceptually?

The research for my collection refers to an ancient Greek celebration ritual: Bacchanalia – the worshipping of Bacchus, the god of wine. Its violent and rough notions are present in many cultures and eras. I focused on the 1920s particularly – the flapper girls – not only the silhouettes, but the attitude as well. I looked at the contradictive contrast of a feminine look and masculine behavior, flat chest, exquisite embellishment, lace applique and see-through dresses. I used objects of everyday life such as hair nets, tights, embroidery frames and laundry baskets to develop shapes and silhouettes directly on a dummy. Fascinated by the color qualities of lace, I stretched it on wire screens in order to achieve an extremely light, transparent, but very graphic silhouette. The headpieces were made to represent cannibalism. My goal was to produce fragile pieces that would communicate danger. Using conventional methods is very boring to me, especially with materials that carry a great history and tradition. So I tried to transform the appearance of lace, and not use it just for decoration. I really wanted to show the beauty of it, and the construction of my garments helped me to do that in the best possible way.

Photography by Giovanni Corabi

Where did you do your placement year, and what was that experience like? What advice would you give for students choosing their placements?  

I went to Paris for three months to intern at Lanvin womenswear, where I worked on tailoring. Then I moved to Louis Vuitton, which was absolutely amazing. I worked with the most expensive leathers, used the most modern materials and worked with the most talented designers.

I still think I developed all my skills here at CSM, through the range of the projects we were given. The environment is crucial too. It’s very inspiring to work alongside creative young people from all over the world; I learned a lot from them too. When choosing an internship, I think you should focus on what you would learn from it. I would recommend to go for one small company where you’ll be involved in every aspect of business and design process, and one big established business.

Graduating is about the scariest thing for an undergraduate student to think of, how was that experience for you?

It does really feel strange. The most awkward moment for me was sending the models down the runway for the degree show. Then suddenly you feel it’s all done, nothing left to sew. It took me a while to recover and have enough sleep. Nevertheless, we still have to work on portfolios, lookbook, the exhibition… It is still very busy and dynamic.

What are your plans for the not so near future?

To go on a little holiday.

Interview by Luma Guarçoni

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Using development techniques that aim to question the social perceptions of ‘normality’, Yuhan Wang’s interest in the abstract self surfaces through lingerie finishings, bagged out linings and reconstructed night-robes. With her serene and delicate collection, Yuhan scooped the runner-up L’Oréal Professionnel Young Talent Award. Beginning her design process with focusing on the life-span of a garment, she started to explore laundry as a metaphor for how people lead their everyday lives and construct social identities through the guidelines of clothing. Having to re-think her key design features only ten weeks before the deadline, Yuhan made herself start from scratch and cut out almost every look. Still, she underlines the value of following your intuition in the midst of having other people giving their opinions about your work. “The most important thing to remember as a designer is to have self-confidence and belief — you have to remind yourself that you are the decisionmaker, and that no one else in the world could understand what you are trying to express more than yourself.”

“We think that we can hide ourselves within our shells, and use the clothes we wear to mimic social norms. We are likely to use that protective cocoon to maintain this socially constructed ‘normality’ and to get a sense of safety.”

What was the conceptual starting point of your graduate collection?

People nowadays tend to dress alike, with specific unified codes for almost every occasion and time, even though they come from different countries and cultures. They join the parade and catch the trends without focusing on who they actually are below the surface. We think that we can hide ourselves within our shells, and use the clothes we wear to mimic social norms. We are likely to use that protective cocoon to maintain this socially constructed ‘normality’ and to get a sense of safety. However, when vanity turns around, what is real? We squeeze our covers into the washing machines to rinse off everything painful and exhausting, to get rid of that pressure and sadness underneath. Gradually, in the process of losing our self-actualization, we achieve a sense of social identity. In my collection, I’m using laundry as a metaphor to express people’s confusion, insecurity and imagined constraints. This process involves a series of actions: soaking, swinging, squeezing, pressing, drying and folding — the same actions people are forcing upon their identities every day of their lives. After washing our clothes, everything might seem to be as new and fresh as before. But is that really the case? We get a reconstructed identity, consisting of entwined, tied and overlapped clothing. There is a man’s top trapped in a dress, or a woman’s underwear stuck on top of a man’s trousers — which are not the expected norms for the specific gender or person. No guidelines, no defining laws, no restricting views.

How do you create a visual narrative out of an abstract concept? Is it a challenge to translate a very conceptual idea into something practical?

I don’t think it’s a big challenge for me to translate an abstract idea, it depends on how far you really want to go and how much you push yourself along the way. Everyone has their own perception and understanding of the abstract. The difference is the way you choose to express yourself, as the writer writes, painter paints and actor acts. For me, I rely on my imaginations and emotions a lot. Just take a day, let your emotions flow, and even the sound you hear will have pictures. It flickers by very quickly and you can still see it, but maybe not always with your eyes.

Did you face any serious challenges during the development of your collection?

I can’t say it was an easy process. The final year was like no other time, especially since during the first couple of years at CSM, you only have three weeks to complete almost every project you get. In third year you have nearly a full year to think about your final collection. However, you’re always going to be the one making all the hard decisions. At one point I was really confused and didn’t know how to continue. I was unlucky that I had to cancel most looks of my final collection, since there was someone else that showed the same key ideas as I had. I was really thankful for the guidance of my tutors, everyone stood by my side and supported the originality of my previous collection, but in the end I had to give it up. That was a really difficult time. People around me were already producing their garments, but I almost had to start all over again. But I never knew that I was capable of accomplishing that much within 10 weeks, including a new collection.

“There is a man’s top trapped in a dress, or a woman’s underwear stuck on top of a man’s trousers — which are not the expected norms for the specific gender or person. No guidelines, no defining laws, no restricting views.”

Are you inspired by every brief you get? If not, how do you make projects work for you when you get stuck?

Not every project is as interesting and inspiring. When I get bored, I just jump onto a double-decker bus and grab the front row seat to look at the city and the people on the streets. I take a break from the project and try to enjoy life with friends. You sometimes tend to forget that life is always the most beautiful and inspiring journey.

What do your design ideas mostly revolve around, do you have a certain theme that you usually return to?

I really enjoy exploring my inner thoughts and emotions, I talk to myself as if I was another person. I couldn’t live without my thoughts and emotions. At the end of the day, they’re the only thing that matters.

Do you feel that your collection somehow reflects who you are as a designer?

I have no doubt that each collection tells a designer’s own story with her aesthetic and thoughts. All the choices made in the design process reveal the designer’s personality.

When do you think your identity as a designer really took shape and a ‘concrete’ form? Is it important to have a specific ‘signature’ as a designer, or is it better to be flexible?

The ‘signature’ is very important for me. I don’t think there’s any conflict between being yourself and being flexible, it depends on the dimensions and how far out you’re willing to go. I think there are always some clues you can trace from the beginning — from your foundation year or even earlier on. Sometimes it’s just a drawing you liked, a person you admired or a film you enjoyed. They all come together into a sort of uniqueness in the end.

“You have to remind yourself that you are the decisionmaker, and that no one else in the world could understand what you are trying to express more than yourself.”

Being critiqued constantly, sometimes we can lose sight of who we are or what our work stands for. Where would you draw the line between growing from those feedbacks, and conforming to produce what the tutors want?

You could never imagine how frequently I questioned myself in the past year based on the opinions that tutors, friends and strangers had about my work. But I enjoy to collect as many diverse views as I can, so it wasn’t really that scary. The most important thing to remember as a designer is to have self-confidence and belief — you have to remind yourself that you are the decisionmaker, and that no one else in the world could understand what you are trying to express more than yourself.

What did you do during your placement year?

I didn’t do a placement year, but I did a few internships during summer and Easter breaks before my final year, such as Nicomede Talavera, Claire Barrow, J.W. Anderson in London and Oscar de la Renta in New York.

What are your plans for the immediate future?

I will attend the MA program this fall.

Do you have any plans for the not so near future?

I’ll probably work for someone. Or maybe go back to graphic design and design books, that’s just a different way for me to express myself.

Words by Matilda Söderberg

All images courtesy of Yuhan Wang

Follow @popusseland on Instagram

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Inspired by a smocked children’s dress, with a family history that goes back nearly 60 years, Aya Takeshima created her final collection based on an imagined narrative composed by the journey of her childhood relics. Working on textile development at Chanel and KOCHÉ during her placement year, Aya displayed a range of material manipulation techniques in her graduate project; using multiple layers of gatherings and pleats. As Aya usually begins her creative process by drawing upon the common characteristics she finds in randomly picked photographs, she started to realise how influenced she was by her childhood, as the smocked dress eventually became the core of her most essential design ideas.

My collection was inspired by a smocked children’s dress that my grandmother made, and was passed on to my aunt, my mom, me, and my sister for nearly 60 years. I turned the journey of the dress into an imagine story, which I based my collection on. At the beginning of my research, I just randomly collected images that I liked without thinking too much about it. But when I started to analyze why I was so attached to these images, I suddenly remembered my old dress. When I asked my mom to send me a photo of it, it turned out to be exactly what my research was all about. At that point I started to realise that I was very influenced by my childhood memories, and so the story came along.

How do you create a visual narrative out of an abstract concept?

I usually start by collecting images that I like. From this, as well as abstract ideas, I try to find things that share common features, and let these key ideas become the core of my visual narrative. Sometimes it can be a bit challenging to translate it into something practical, but once I’m on the right track, the conceptual idea has an ability to display itself quite naturally.

How did your collection develop during the course of the year?

I felt very lost and struggled a lot during the whole process, especially after developing all the textile samples. As soon as I had the manipulated fabrics in real size and started to create the looks, I suddenly found a clear direction, and got some ideas to improve the finals. Between the show and the final line-up I’ve actually changed quite a lot.

Do you get inspired by every project? If you don’t, how do you make projects work for you when you get stuck?

By walking, talking and eating cakes.

What do your design ideas mostly revolve around?

My imaginary wonderland.

What does your development process usually look like?

I focus a lot on the materials at first. I experiment with knits, colours and create different textile samples. Then I continue by making a selection among these options; picking out the ones that I would like to use and start configuring the shapes.

“Having participated in the whole process from scratch, I could see how my textile embroidery sample was used for one of Karl Lagerfeld’s design drawings, and later on became a garment in the Chanel collection!”

How does the conversation between 2D and 3D work for you?

3D informs everything to me. I’m not good friends with 2D…

Do you feel that your collection somehow reflects who you are as a designer?

Yes!

When do you think your identity as a designer really took shape and a ‘concrete’ form?

The White project, possibly. It was just a memorable thing for me.

What did you do during your placement year?

I worked at Maison Lemarié and KOCHÉ in Paris. At Lemarié, I did textile design for Chanel’s collections, accessories for Chanel’s Haute Couture, and contributed to the production of the show pieces. At KOCHÉ I did sample production, textile development and embroidery on behalf of the knitwear design department.

Did your experience in the industry give you a better insight into how the business of fashion actually works? Is there anything CSM didn’t prepare you for, or did you learn anything you wouldn’t have learned in school?

I gained a lot of wonderful experiences from my internships. Especially how things work technically and professionally, and how you build a collection in the real industry. Having participated in the whole process from scratch, I could see how my textile embroidery sample was used for one of Karl Lagerfeld’s design drawings, and later on became a garment in the Chanel collection! Since they were just at the beginning of launching the label at KOCHÉ, the team was really small and I was able to work closely with the creative director. We discussed everything — from graphic design to knitwear production and the know-hows of building your own label, and we could spend nights talking and making embroidery samples. These experiences are impossible to get in school. Also, one of the most valuable things I learned from both placements was to never stick with the computer, but to always learn by hand.

A big part of the fashion industry consists of a sector that supports a philosophy of material consumption, constantly reproduces unhealthy ideals, can’t manage to find sustainable solutions for its workers, and is one of the world’s largest contributors to climate change. If you’re emotionally engaged with what you do, how do you emotionally disengage with the harm the fashion industry does?

Never use animals and don’t rely on mass production.

“Rethink the importance of each region’s authentic traditional techniques or small industries, and preserve them to create a new diversity and a more sustainable world.”

What do you think that you can do to improve the fashion industry? Is finding systematic solutions to some of the big problems in fashion something that design students should or shouldn’t be concerned with?

Rethink the importance of each region’s authentic traditional techniques or small industries, and preserve them to create a new diversity and a more sustainable world — against globalisation and mass production. Even though you can’t find the proper solutions by this stage, it’s at least better to be aware of the problems that we are facing today. They’re impossible to ignore.

Graduating is about the scariest thing for an undergraduate student to think of. How was that experience for you?

It was a bit scary, but also extremely exciting. After the show I was contacted by some companies and people who wanted to do a collaboration with me, or buy my collection.

What are your plans for the immediate future?

I want to get some experience working at companies where I was offered job opportunities, and look for funding to do the MA.

Do you have any plans for the not so near future?

To celebrate the 30th anniversary of my own company, obviously!

What does your Oscar speech sound like?

Thanks to all of my helpers who’ve dedicated their precious time to make this collection happen, as well as Lemarié who sponsored me in terms of materials. Thanks to the models who made each outfit have a strong character, and to all of my tutors who’ve supported me ever since I started the Fashion Folio course. And finally my wonderful family and grandparents, thank you for all of your love and support. You all mean so much to me!

Words by Matilda Söderberg

All images courtesy of Aya Takeshima

Follow @aya.takeshima on Instagram

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Aiming to create long lasting, wearable and classical pieces, Imogen Wright’s graduate collection takes off in a personal exploration of women’s wardrobes. Feeling disillusioned about the relevance of fashion, she began to search for repetitive patterns in the every-day wear of women, and looked at how our different environments are affecting the clothes that we wear. Ranked by Business of Fashion as one of the top 6 Central Saint Martins BA Graduates of 2016, she expresses a wish of moving towards a more sustainable fashion production. “I think as a student it’s important to be aware of the issues facing the planet and how the fashion industry contributes to them. To make a conscious decision about whether your work should respond to this or not, is very important.”

“The concept and visual narrative come hand in hand. They develop and change simultaneously.”

What was the conceptual starting point of your graduate collection?

Whilst I was on placement year, I felt very disillusioned about fashion and what relevance it really has to women now. Then I read the book ‘Women in Clothes’, which is partially a collective memoir, and partially a field study. It incorporates the views of hundreds of women of all nationalities, on how the garments we wear define and shape us, and in extension how the fashion industry affects women’s lives for both good and bad. This started my personal exploration into women’s wardrobes, looking particularly at patterns of repetition in what we wear, and how our domestic environment and working environment affects our clothes.

Is it a challenge to translate a very conceptual idea into something practical?

For me the concept and visual narrative come hand in hand. They develop and change simultaneously.

How did your collection develop during the course of the year?

My collection changed a lot after we did the pre-collection. Time management was a real challenge, I ended up needing more help making the final pieces than I originally thought.

Does every project inspire you?

No, I haven’t always been inspired by every project. Often it’s not because of the project, but the pace of the course and the industry. I’ve had times where I’ve felt burnt out and uninspired. At those moments I just try to keep on looking. I go to exhibitions, take walks, and read, and eventually I find something that inspires me again. Some of my best projects have started that way.

“My industry experience gave me an insight into the business of fashion that I don’t believe is possible to gain by staying in school.”

What does your development process usually look like?

I normally start by taking photographs, and go on to continue my research in the library, at exhibitions, vintage fairs or charity shops. I like to work from real pieces. After I’ve gathered my research, it’s a constant conversation between 2D and 3D. I collage and drape on the mannequin, then I draw and manipulate the 3D drapes in Photoshop, and then I return my ideas to 3D. As soon as I have something that can be worn, I start fitting the garments on a model and then develop from these.

What did you do during your placement year?

During my placement year I worked at Alexander McQueen as a studio intern for a couple of months, then I moved to Paris and worked as a design assistant intern in the Women’s bags team at Louis Vuitton, and after that I worked as a design assistant intern in the pre-collection team at Celine.

Did your experience in the industry give you a better insight into how the business of fashion actually works?

I think it was the most valuable year of my education; my industry experience gave me an insight into the business of fashion that I don’t believe is possible to gain by staying in school. It also helped me understand how I wanted to work in the final year of my degree.

“Fashion is a small world and people are constantly moving from company to company, so always try to be professional.”

What advice would you give to students choosing their placements?

Try to think about what you want to get out of it. Do you want to understand how a design team works in a big company? Or do you want to aim to start your own label? Tailor your choices to those kinds of questions and be open minded to new experiences. Fashion is a small world and people are constantly moving from company to company, so always try to be professional.

What do you think you can do to improve the fashion industry? Is finding systematic solutions to some of the big problems in fashion something that design students should or shouldn’t be concerned with?

I think as a student it’s important to be aware of the issues facing the planet and how the fashion industry contributes to them. To make a conscious decision about whether your work should respond to this or not is very important.

Graduating is about the scariest thing for an undergraduate student to think of. How was that experience for you?

It hasn’t been as bad as I thought.

What are your plans for the immediate future?

I’m currently working on some pieces for a client, and then I’m going to take a holiday.

Do you have any plans for the not so near future?

Not yet.

Words by Matilda Söderberg

Photography by Vincent le Chapelain

Follow @imogen._wright._ on Instagram

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Applying a philosophy of embracing hazards and unexpected errors, Paula Canovas del Vas has come to master the technique of incorporating accidents and unforeseen blunders into her work. Rather than aiming for a specific outcome, she lets the result of her process shape the offspring of her ideas. After gaining learning experiences during her placement year at Ashish, Gucci and Margiela, she realised the true potential of good teamwork and the value of venturing your comfort zone. Developing a unique printing technique together with a construction worker at a Spanish factory she stumbled across in her hometown, and participating in printing courses whilst travelling in the north-west regions of India, these coincidental events literally transformed into practical elements that shaped the final outcome of her graduate collection.

“Since I wanted to incorporate the concept of mistakes within the collection, there weren’t really that many things that could go wrong.”

What was the conceptual starting point of your graduate collection?  

From the beginning I knew I wanted to do tailored pieces, but I also knew I didn’t want them to have a rigid aesthetic. While thinking about the concept for my dissertation I stumbled upon Tanizaki’s analysis of Japanese aesthetics, as well as Wabi Sabi, and I think that was really the starting point. The research was led by the acceptance of elements of hazard, of things that simply occur. I started looking at Lynda Benglis’ performances, David Hammons’ work and Claes Oldenburg’s sculptures.

How do you create a visual narrative out of an abstract concept?

When I start working on a project, I never really have the final outcome in mind. For me it’s all about the process of making, rather than achieving a certain goal, so I suppose the visual narrative comes as a result of testing a lot of different ideas. I never get too attached to a concept. If something doesn’t work, no matter how much time I spend on it, I move on and try out something else. This doesn’t mean I’m changing the concept, but rather that I’m trying different ways to get as close as possible to an outcome with the most powerful representation of my idea.

How did your collection develop during the course of the year? Did you face any serious challenges during the production process?

Since I wanted to incorporate the concept of mistakes within the collection, there weren’t really that many things that could go wrong. To me it was more important to make everything look cohesive and make sense as a whole. As a self-critic, though, I tended to experiment way too much within the final stages of making the collection. I was still trying out fabrics and design ideas a month before the show, and I ended up with way too many looks. Of course half of them were unnecessary, but I had to make them to see if they were working!

What does your development process usually look like?

I think I’m more of a hands on kind of person, I love toiling and working in real size. I don’t consider myself to be a great illustrator, and even though I like nice drawings, it’s not really my strength. And when it comes to surface prints, digital work is definitely a no-no. I really enjoy getting into dirty stuff, you know. For my prints I had the chance to collaborate with a construction worker from my hometown, Murcia. I was passing by one day and saw him using some machinery that I thought could be helpful for my work. I ended up spending a lot of time at the factory and we developed the technique together.

“What really matters is to have a good feeling about what you’re doing, and to react to the feedback you’ll get. It might sound perverse, but I kind of enjoy some good criticism. It’s hot!”

How does the conversation between 2D and 3D work for you?

It depends on the project, really. Sometimes I’ve forced myself to work merely in 2D just to try it out, but I would say most of the time I start in 3D right away.

When do you think your identity as a designer really took shape and a ‘concrete’ form? Is it important to have a specific ‘signature’ as a designer, or is it better to be flexible?

I personally don’t like to put labels on things, and the word ‘concrete’ sounds rather scary to me. I prefer to think of my designs as works in progress. Having a signature is essential, but it needs to come naturally, you can’t force it.

Being critiqued constantly, sometimes we can lose sight of who we are or what our work stands for. Where would you draw the line between growing from those feedbacks and conforming to give tutors what they want?

I believe questioning oneself and what you do is key to create work with integrity. Criticism is necessary, and you’ll become used to getting a lot of it at CSM. What really matters is to have a good feeling about what you’re doing, and to react to the feedback you’ll get. It might sound perverse, but I kind of enjoy some good criticism. It’s hot!

What did you do during your placement year?

During second year I started working for Ashish, which is something I’ve continued to this date. Shortly after summer I went to Rome where I spent five months doing an internship for Gucci, the team over there is awesome. They have, and continue to be, extremely supportive. They’ve sponsored most of my fabrics for the BA! It was a great opportunity to observe the operation of such a brand from the inside, and looking back I was extremely fortunate to have done part of my placement there. Right afterwards I went on a trip to Rajasthan. I spent a month traveling around Jaipur, and doing an indigo dying and mud printing course with Natalie Gibson. I also went to Jodhpur, Jaisalmer and Delhi. It was a breathtaking experience, I slept in the desert and met lots of random people. But I also struggled a lot, being a woman and traveling around by myself in India wasn’t the smartest decisions I took that year. I finished my year out interning at Margiela, which I really enjoyed from a creative point of view.

“There is a difference between creating one garment for a crit, and getting hundreds or thousands of them produced for commercial purposes. There is so much work put into it. Meetings with the factories, sample making, new toiles, more meetings. The only time you’ll have a chance of getting a glimpse of this world is during your placement year.” 

Did your experience in the industry give you a better insight into how the business of fashion actually works?

Production was a big discovery for me. There is a difference between creating one garment for a crit, and getting hundreds or thousands of them produced for commercial purposes. There is so much work put into it. Meetings with the factories, sample making, new toiles, more meetings. The only time you’ll have a chance of getting a glimpse of this world is during your placement year. And of course, I also learned a lot about collaboration. There are a couple of group projects in 2nd year, but I only understood what teamwork actually means during my internships.

What advice would you give for students choosing their placements?

Go with the flow and try to have as many different experiences as possible. I would highly advise everyone to go abroad and get out of your comfort zone. But most of all, just do whatever feels right to you. Don’t go work for X or Y just cause everyone wants to be there. Do whatever works for you.

Do you think you will stay in fashion? If so, how would you like to be working professionally as a designer?

I enjoy doing this and I hope to be able to keep making clothes, but I’m also very flexible. The idea of change doesn’t bother me, and at the moment I don’t look too far in the future. At least for now.

Words by Matilda Söderberg

Lookbook photography by Coco Capitan / Hair by Anthony Turner

Follow @paulacolada on Instagram

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In her final collection, Joanna Melbourne questions the ways in which people project sexuality onto non-sexual things. Beginning with an abstract concept, she managed to narrow down her research by solely focusing on water, specifically looking at how it reacts with and obscures the body. Projecting this outcome onto clothing, she found that the more one manages to encapsulate what you’re doing into one single idea, the easier it becomes to communicate your vision.

What was the conceptual starting point of your graduate collection?

My collection was inspired by an erotica magazine titled ‘Odiseo’. The cover of one issue features a beautiful photograph of a large african snail that resembles the delicacy and form of a vagina. I started to question the ways in which people can project sexuality onto non-sexual things, specifically the way that water and wetness can sexualise something. I looked at the way water can create pooling in certain areas and tried to recreate this effect with clothing.

“In the end my collection was completely unrecognizable from my original designs. I think that’s the beauty of having a year to work on it; you can get all the shitty ideas out of the way.”

How do you create a visual narrative out of an abstract concept? Is it a challenge to translate a very conceptual idea into something practical?

I think every designer has their own personal way of doing this, and that’s what makes every collection unique. What works best for me is to try and find a specific research image which makes my concept tangible. For example, my concept of projecting sexuality is quite vague. But I found that the more specific my research became, the easier it became to work on the stand.

How did your collection develop during the course of the year? Did you face any serious challenges during the production process?

In the end my collection was completely unrecognizable from my original designs. I think that’s the beauty of having a year to work on it; you can get all the shitty ideas out of the way. About four days before the final line up, my tutor told me to change every single fabric in my collection. It felt like the end of the world. Instead, it turned out to be the best thing that could ever have happened to my collection.

Do you get inspired by every project?

Definitely not. But in the end there’s always a way to make a brief work for you. I always took each brief as more of a loose guideline than a strict framework. When I’m stuck, I go to the college shop and buy a bunch of random objects and then see if I can do something, anything, with them. Somehow it always worked out.

“The tutors have done this year after year and they know what they are talking about, so I think dismissing their advice can be naive.”

What do your design ideas mostly revolve around, do you have a certain theme that you usually return to?

My themes are always different but my process is always the same. I love working in the 3D workshops and playing with all the tools they have in there. I would always look for an excuse to bring some material that isn’t fabric into my projects. I’ve made a dress dripped in liquid crystals, a jacket made of thick vinyl and a bag made of stainless steel (which was way too heavy to carry).

What does your development process usually look like?

My development process involves hours and hours of research. Once I’ve looked at every single book/board/article I can find, I’ll drape and draw and drape. I like the ease of working on the computer as well, so there’s a lot of collaging and tech drawings put into it. Then I’ll try a few designs out, and pray that one of them looks as good in person as it does in my head. Usually it looks completely different though. And sometimes I’ll go back to square one and repeat the whole process again.

How does the conversation between 2D and 3D work for you, how much does one inform the other?

2D and 3D work really rely on each other. It can be hard to properly visualise a 2D drawing until you see it on the stand, and it can be hard to develop a drape on the stand without drawing. Everyone definitely seems to lean towards one or the other, but in the end both are massively important.

When do you think your identity as a designer really took shape and a ‘concrete’ form?

It was quite surreal to see my collection in the final toiles. I remember assisting so many final years during their lineup and thinking it was quite an important milestone in final year. When the day actually came and I saw my collection lined up on models it was a strange experience after five years of expectations.

“Design students need to be concerned with the future of the fashion industry because it’s the industry we will spend most of our lives working in.”

Being critiqued constantly, sometimes we can lose sight of who we are or what our work stands for. Where would you draw the line between growing from those feedbacks and conforming to give tutors what they want?

A lot of people in final year will say “it’s your collection, not your tutors’.” The tutors have done this year after year and they know what they are talking about, so I think dismissing their advice can be naive. I like getting other people’s opinions, and I think part of being a commercially successful designer is being able to make beautiful things that will appeal to the right people.

What did you do during your placement year?

During my placement year I was at Trager Delaney, Hussein Chalayan, and Marc Jacobs.  The majority of the time I was at Marc Jacobs doing fabric development, which taught me a lot about fabric production and manufacturing. They design most of their textiles in house at Marc Jacobs so I got to learn a lot about the process involved in that.

Did your experience in the industry give you a better insight into how the business of fashion actually works?

I think being in the industry teaches you how large it actually is. So many people are employed by the fashion industry in some respect or another. I suppose that’s the reason it seems to be getting more and more commercial, since there are so many people relying on its economic success.

What advice would you give to students choosing their placements?

My advice would be not to stress about it. Everyone gets a placement, and when you come back to final year everyone has the skills they need to make a collection. Just enjoy your placement year as much as possible, you will miss it when it’s done.

A big part of the fashion industry consists of a sector that supports a philosophy of material consumption, constantly reproduces unhealthy ideals, can’t manage to find sustainable solutions for its workers, and is one of the world’s largest contributors to climate change. If you’re emotionally engaged with what you do, how do you (emotionally) disengage with the harm the fashion industry create?

I think more and more people are emotionally engaged with what they do and still aware of the problems. Awareness is increasing through initiatives like Fashion Revolution and brands are being held more accountable. We had a talk in final year about sustainability and we were told that just making a small choice, such as reusing some left over lining from your last project instead of buying a new one, are things that all help.

“When I’m stuck, I go to the college shop and buy a bunch of random objects and then see if I can do something, anything, with them. Somehow it always worked out.”

What do you think that you can do to improve the fashion industry? Is finding systematic solutions to some of the big problems in fashion something that design students should or shouldn’t be concerned with?

Design students need to be concerned with the future of the fashion industry because it’s the industry we will spend most of our lives working in. The industry can’t be expected to stay stagnant so we need to make sure to influence it to move in the best possible direction.

Graduating is about the scariest thing for an undergraduate student to think of. How was that experience for you? Did anyone approach you after the show?

A final year once told me that from one day to the next you are done with your collection and left to fend for yourself. That’s exactly how it feels. But I think CSM teaches you to fend for yourself and figure it out. After the show I was approached by a couple brands abroad and I’ve also approached some brands in London.

What are your plans for the immediate future?

To recover from five years of minimal sleep. Other than that I’m aiming to start work this month.

Do you have any plans for the not so near future?

I can definitely see myself applying for the MA after a few years of experience in the industry.

What does your Oscar speech sound like?

Better luck next time Jennifer Lawrence.

Words by Matilda Söderberg

All images courtesy of Joanna Melbourne

Follow @joannamelbourne on Instagram

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Re-constructing traditional stereotypes of Spanish culture – a visual area far off from his taste – Ernesto Naranjo was determined to work with a theme outside his own aesthetic comfort zone for his graduate project. Accommodating unexpected scenarios seems to be a pervading theme in his practice, and Naranjo underlines the necessity of interning during your studies to avoid a post-university reality shock when mentioning that “the majority of creative people are sensible persons, and to adapt into a world that’s not really sensitive can be a hard job.”

“Working with something you don’t like is quite risky in your final project.”

What was your graduate collection’s conceptual starting point?

The idea of a distorted tradition; roots that change simultaneously with the life of an individual, and merge with the elements of the metropolis.

How do you create a visual narrative out of an abstract concept?

I like to create relationships between socio-cultural problems and my own background. It is a process of applying specific references onto the body, even though it might not look like clothing.

How did your collection develop during the course of the year? Did you face any serious challenges during the production process?

I took a theme that I wasn’t really comfortable with. I have an issue with some areas of my culture since it reminds me of something quite boring, without any design or style. Spain obviously has a lot to offer, but nowadays the general image of Spanish culture is just known as flamenco, bulls, the food and the beach life. I wanted to take these obvious references and make them look different. The process for me was quite hard, I had so many doubts. Working with something you don’t like is quite risky in your final project.

Do you get inspired by every brief?

Usually the projects are quite open so you can really make anything you want. Even if the project is very specific I always try to make it my own. I learned a lot about that at the Fashion Folio course with Patrick Lee Yow. He taught us how to make a great research book where you’d always find a way to create something good. Research is the main base of a project; if the research is weak you’ll find many difficulties during your development.

What does your development process usually look like?

After doing my research, I try to merge different images and references. Further on I start to drape. I like to work in 3D, as it gives you a more realistic and honest view of the body. To see how the piece will work with fabrics and colors I bring the drapes down to the paper, where I try to make everything clean and organized so I can see it all at once.

“I worked in both Artisanal and RTW teams, starting with John Galliano from the beginning. He is such an inspiring person and he treats his “kids” (the interns) as his own children.”

Do you feel that your collection somehow reflects who you are as a designer?

Yes, but I don’t think anyone reaches a moment when they’re fully ‘complete’. You learn something new every day that changes you somehow.

When do you think your identity as a designer really took shape and a “concrete” form?

My final year was really a study of myself. As there are so many designers in the world, it’s necessary to have a voice and to have something to say, so you will be known for a particular style or specific element. If your aim is to work as a designer for a brand, maybe you’ll have to be more flexible to fit in with a team and to work in several environments.

What did you do during your placement year?

I spent my whole year from October to October, 12 months, at Maison Margiela. I worked in both Artisanal and RTW teams, starting with John Galliano from the beginning. He is such an inspiring person and he treats his “kids” (the interns) as his own children. He would give us personal projects and then you’d show them to him personally, so it was like a proper CSM tutorial or crit. I spent time working next to the press team, building window displays for their stores in Milan, traveling next to John to London for the Vogue Festival and building the exhibitions at the Margiela headquarters with Simon Costin. Margiela is like a family. You know everyone and every department informs the other to create something in common. I’ll always be thankful for my time there.

“I think there are so many easy ways companies could make a change. Everything from paper usage, to healthier working hours and to the times the lights are on in the studios.”

What advice would you give for students choosing their placements?

Work hard on your portfolio and always be yourself during the interviews. Apply for extra places apart from the brands you’d really like to go to. Occasionally companies even approach you. Even though you might have some ideas of where you’d like to go, usually nothing is ever the way you expect them to be.

A big part of the fashion industry consists of a sector that supports a philosophy of material consumption, constantly reproduces unhealthy ideals, can’t manage to find sustainable solutions for its workers, and is one of the world’s largest contributors to climate change. If you’re emotionally engaged with what you do, how do you (emotionally) disengage with the harm the fashion industry create?

Nowadays most of the brands are opening up ECO departments, but most are just for marketing reasons. They’re not real, they’re not changing anything. The amount of money fashion creates sadly doesn’t fit with sustainable ideals. Governments have the responsibility to force companies to work in a more respectful way. I think there are so many easy ways companies could make a change. Everything from paper usage, to healthier working hours and to the times the lights are on in the studios. These are small things everyone could apply, that might bring companies to a point where they’ll start working with sustainability on a bigger scale.

What are your plans for the immediate future?

I’m currently studying on the MA Fashion at CSM.

Do you have any plans for the not so near future?

To create beautiful pieces that have the ability to change people’s views of their own lives.

What does your Oscar speech sound like?

Something I learnt at CSM is just to enjoy your time and do what you love. HAVE FUN GUYS!

Words by Matilda Söderberg

Follow @ernestonaranjo on Instagram

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When Gerrit Jacob graduated from Central Saint Martins’ BA Womenswear course this summer, he did so with an ode to German suburban trash culture. “It all started with the idea of the suburb often being portrayed according to this glorious, perfect image in pop culture. But in reality it is often contrastly derelict and sad,” he explained of his collection’s conceptual starting point. “It was also about the girls within those suburbs – how they’re constantly bombarded with images and depictions of what sex and style are supposed to look like, and how those images are appropriated through the filter of German trash.”

How did your collection develop during the course of the year?

There certainly was no shortage of challenges, as every garment had its own set of issues and problems. Usually these were related to the differences between the final and toiling fabric. Aside from that, the amount of money you spend on your collection was definitely something I had underestimated.

What does your design ideas mostly revolve around? Do you have a certain theme that you usually return to?

Wherever they may start, they always boil down to the aesthetics of being broke.

“As the end result is meant to be clothing, anything else but working in 3D seems irrelevant to the process.”

How does the conversation between 2D and 3D work for you, how much does one inform the other?

Albeit being very passionate about drawing, I find it quite useless when it comes to designing clothes. For me drawing is a separate process, when it comes to garments I prefer to go straight to making things. I have very little spatial awareness, so I find it hard to accurately visualise a garment unless I have it directly in front of me. To me, as the end result is meant to be clothing, anything else but working in 3D seems irrelevant to the process.

What did you do during your placement year?

I interned at John Galliano and Kenzo.

Did your experience in the industry give you a better insight into how the business of fashion actually works?

Very much so, CSM doesn’t aim to educate you in the business and industry sides of fashion. So doing as many placements as possible has been a really important aspect for the last four years for me. From how things are priced, to how different companies facilitate their design teams, to learning Adobe Photoshop and Illustrator – placement year was definitely the most dense year for me in terms of learning.

What advice would you give to students choosing their placements?

It’s definitely important to gain insight into as many different companies as possible. The most satisfying placements, in terms of enjoying it and gaining actual experience, always seem to be at the small labels. But at the same time it’s important to get insight into the processes of a big company.

What do you think that you can do to improve the fashion industry? Is finding systematic solutions to some of the big problems in fashion something that design students should or shouldn’t be concerned with?

Inducing any meaningful change would require substantial amounts of influence and money behind you. So I think that before one could genuinely change aspects of the system, it would require years of amassing said capital and influence. Consequently it seems to me that – while it’s important to be aware of these things – as long as people don’t know who you are, no one in a position to change things will take you seriously.

“I’ve invested way too much time and blood and money into this in order to do anything else.”

Graduating is about the scariest thing for an undergraduate student to think of. How was that experience for you?

You come out of the year exhausted and broke. I was a complete mess the last weeks ahead as well as a couple of weeks after the show, but I’m fairly sure that things even more brutal are yet to come.

Do you think you will stay in fashion?

The point of no return was reached a long time ago, I’ve invested way too much time and blood and money into this in order to do anything else. For the moment the goal is to collect some prestige at big fashion houses. Who knows what the future will hold.

What are your plans for the immediate future?

I’m currently living in Paris and interning at Balenciaga.

Follow @gerrit_jacob on Instagram

Words by Matilda Söderberg

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Have you ever witnessed glamorous evening dresses being made in your grandmother’s garage? Not every kid will say they have had such an experience, but current MA Fashion student Deanna Fanning surely can. Fondly reminiscing her Australian childhood and using old wedding dresses and knit pieces collected from car boot sales as well as charity shops, her BA collection offered an unusual take on archetypes of female dressing. 

What was the conceptual starting point of your graduate collection?

My sister and I spent a lot of time with my Italian grandmother in Australia when we were growing up, where our relatives would create all types of occasion wear for family events. Some of these garments, like wedding dresses, involved more laboursome tasks such as beading, sequining, making rosettes and layering tulle. There used to be piles of old 90’s magazines surrounding their workspace in the garage; it always took a while for the European issues to arrive in Melbourne. Together they would be working on extravagant pieces in their knitwear. I really admired this contrast of high and low, casual knits and jumpers worn for creating glamorous garments. I also liked the way they spoke about clothes. They would tell us about different pieces they worked on, which embroidery they used, or reminiscing how they learnt a specific technique. It all seemed very romantic and inspiring. My grandmother would always say that when you’re creating real fashion, you’re creating a fantasy. To me this is really interesting from a sociological perspective; I think most people use fashion to create or project an image, and I can also see this as a fantasy of how they view themselves or would like to be viewed as.

How did you create a visual narrative out of an abstract concept? Is it a challenge to translate a very conceptual idea into something practical?

My starting point gave me my initial references, but to visualize it I needed lots of research. In the beginning of the year my tutors encouraged me to look into a specific period of wedding dresses that I was interested in. As I progressed I realized I was very fascinated by the large volumes of the 80’s, and drawn to romantic elements of the late 70’s – such as found in Deborah Turbeville’s photos. I also did some more practical garment research, since it’s a challenge to find all details in photos alone. Looking at works from prolific Australian artist Howard Arkley, also gave me some colour references that resonated with my suburban childhood memories. Colour is really important to me and I kept on changing my mind on shades and tones. Since my collection used colour blocking, I guess I was concerned with how each look would next to one another as a collection.

“I’m really interested in women portrayed through art history, and how certain symbols and archetypes still imbue femaleness and connote a feminine aesthetic.”

How did your collection develop during the course of the year?

Leading up to the show, I think the collection was always developing in some aspect. I had no idea the collection would look this way when I started off. I spent the start of the year swatching and sampling, so in a way an idea for the fabrics came before the shapes, even though I would still develop colours and yarns while toiling. Sometimes I was forced to change my plans since it wasn’t possible to find a large quantity of the yarn I wanted, or it would have been economically unrealistic to use a specific yarn for the entire collection. I think these issues are quite normal in knitwear, though, so if something doesn’t work you have to move on quickly to find another alternative. For me this was for the better in most cases anyway. It was also great to have my twin sister in the studio next door; we’d often bounce ideas and suggestions off each other.

What do your design ideas mostly revolve around? Do you have a certain theme that you usually return to?

I definitely return to themes surrounding the representation of femininity. I’m really interested in women portrayed through art history, and how certain symbols and archetypes still imbue femaleness and connote a feminine aesthetic. There are so many ideas that can be related to this theme.

What does your development process usually look like?  

I’ll initially start to create fabric samples before I begin working on the stand. I prefer to make 3D shapes based on my research, and develop them with drawing before going back to 3D. If I can’t achieve certain shapes with the fabrics I started off with, or need to consider particular finishes, I’ll return to develop the fabrics. I’m a very visual person and need to see things before deciding on them. Even though I realize this is sometimes more time consuming, it is the way I prefer to work.

Being critiqued constantly, sometimes we can lose sight of who we are or what our work stands for. Where would you draw the line between growing from those feedbacks and conforming to give tutors or clients what they want? 

I think tutors and clients are different in what they aim to receive from you. From personal experience, the tutors are interested in what creative and original ways you execute your ideas, and how well you manage to communicate them. Their feedback is more personal and constructive, since they’ll push you to improve yourself. Whilst this is also important to clients, they have different motives. You’re working to satisfy whatever their requests are, and what you do has to be relevant to their objectives. In this sense I think you do have to conform to what clients want, as opposed to a tutor who are probably more open to your own ideas and won’t require a predetermined outcome. Therefore I don’t take feedback from a client as personally as I would from a tutor; it’s a business.

What did you do during your placement year?

I gained experience for shorter amounts of time at local studios in London while I studied, but didn’t do the placement year.

Did your experience in the industry give you a better insight into how the business of fashion actually works? Is there anything CSM didn’t prepare you for, or did you learn anything you wouldn’t have learned in school?

The industry moves so much faster than projects do at CSM. Besides, you’ll often have multiple projects at a time, so it’s been interesting to compare the pace. It has also been beneficial for my technical skills. Interning in smaller studios often means you’ll have to do repetitive tasks for days at a time, when you’re working towards show day or a sample deadline. To me this wasn’t necessarily a bad thing, since I think it helped me gain the physical and mental endurance to finish my collection. It was also interesting to see how a small design team communicated with each other and worked together professionally, since studying is mostly focused around your own work and your own process.

“If a studio environment permitted it, it could be good to engage in a dialogue about sustainability as an intern.”

What do you think that you can do to improve the fashion industry? Is finding systematic solutions to some of the big problems in fashion something that design students should or shouldn’t be concerned with?

While it may not be possible for design students to find solutions to these problems immediately, I do think it is important for them to facilitate change in the future. Perhaps if a studio environment permitted it, it could be good to engage in a dialogue about sustainability as an intern for a start. I also think fashion could play a positive role in the diversification of economies, considering the high levels of expertise involved in luxury goods, but sadly I feel these macroeconomic issues run deeper than designers working in the industry.

Graduating is about the scariest thing for an undergraduate student to think of. How was that experience for you?

The year went incredibly quickly, I didn’t really get a chance to think about graduating until it was all over and there was no studio to go back to. I really miss it.

Do you think you will stay in fashion? If so, how would you like to be working professionally as a designer?

I would love to be able to work as a fashion designer and hopefully have my own studio and label. I feel like I just started and still have so much more to learn. It would be great if I could also work with my sister in the future, we both enrolled onto the MA course! I’m excited to be back in the studio.

Words by Matilda Söderberg

Follow @deannafanning on Instagram

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The semi-transparent dresses of Central Saint Martins BA Fashion graduate Sergey Grechka have such presence in real life, with soft shapes protruding from each design, yet they take on a whole new persona on film. Shot exclusively for 1 Granary, Nikolay Biryukov translated the collection’s mood rather seamlessly into moving image. “I always pay attention to how the clothes and accessories will move on the body,” says Grechka about his design process, “but the catwalk or a movie definitely add another dimension. The experience of seeing my clothes being shot, the backstage aspect, and the work of the hairstylist and make-up artist, has undoubtedly changed my perception of the collection. In the end they are clothes that are supposed to be worn by women, and editorials make them come alive, in a way.”

Grechka did not have one muse in mind when he created his collection, rather, he focused on the mood of his ideal woman. “She is beautiful, egotistical and brave,” he says, and explains that his designs are for “a modern, fragile but dangerous woman whose perception of gender is blurred.” Though Grechka wishes for gender to remain in flux here, he still tackles some issues that oppose female sexual freedom in his designs, the bold black line across the chest of the model, as seen in some scenes, being undeniably striking in this context. “The censorship element came out spontaneously,” he elucidates. “It is to represent the nudity, the appropriateness, of the female in social media.”

Having spoken before about his interest in the contradiction of a feminine look against masculine behaviour, Sergey explains that he continued this theme in his designs. “I wanted each look to have an abstract element to it, to balance out the feminine colours and silhouettes. All the dresses are transparent, so the underwear becomes another important graphic element adding to the look.” He tells us that sexuality and violence have also been great influencers here. “Dark experiences and events in the past few years had a huge influence on my work as well; it drove my interest in violence, cannibalism, ripping flesh, and rituals of Bacchanalia, which I find extremely beautiful and moving.”

“I’m really happy I could dedicate my final collection to something special and personal, as I didn’t have to worry about marketing and pricing.”

Sergey Grechka AW16 by Nikolay Biryukov

The self-proclaimed perfectionist maintains that his work is heavily introspective, yet the rituals of Bacchanalia he speaks of were secret Roman female-only festivals (with admission later extended to men), which involved group sexual activities, drinking feasts, processions and dramatic performances. Grechka’s engrossment in both his interior interest in this world of transgressive behaviour against his exterior interest in questions of the female form in the public sphere strike a unique contrast that allows for the formation of his remarkable designs. Believing this singular focus came partly from his childhood, Sergey explains that, “I’m an introvert. My childhood and the environment shaped my habits, behaviour and routines. I always had very few friends and used to spend time on my own, drawing or making things with my hands. I would observe the surroundings a lot, finding my place. And I still do. I guess it is partly conscious, as I usually have a clear mind.”

In his own research, we can see this intensity again, which contrasts against his making method which Sergey cites as spontaneous. “I never collect many pictures for research, I prefer to focus on a few key images,” he expands. “When designing, I don’t draw much, I usually have an idea of the silhouette and do a range of spontaneous experiments on the mannequin. I take a lot of pictures and then move on to the details. I know my pattern making skills and 3D vision are my strengths.”

In the five months since Grechka opened the graduate press show, the world has changed far more quickly and drastically than any of us could have predicted, though Sergey has not felt its effects too greatly, instead focusing on recovery after those intense and all-consuming couple of months. “It was such a busy time making the collection, I realised I got detached from the outer world and my family,” he divulges. “It took me a month to recover and I haven’t touched the sewing machine since then.”

After a good two months of rest, Sergey moved to Paris to work as a design assistant for women’s bags at Louis Vuitton. “I do work with the patterns and materials, but it’s different from ready-to-wear, and obviously we work on commercial products. I’m really happy I could dedicate my final collection to something special and personal, as I didn’t have to worry about marketing and pricing. I simply enjoyed working on this project and pushed each part of it to the limit of imagination and my capabilities.”

Words Elizabeth Pllx Photographer Nikolay Biryukov Make up Ksenia Galina

Hair Keiichiro Hirano Model Jingsi Wang

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