The designer graduated from Master of fashion and textile in Glasgow school of art. With the main direction of silhouette design, her design is focusing on the relationship between human body and clothings and balancing traditional tailoring elements with dramatic design ideas to achieve the purpose of both wearable and conceptual design.

The name of the project is “Body in desire”, which came from the story of lustful people transformed into monsters in the anime “Devilman Crybaby”. Therefore, the designer used the change of human bodies in desire to combine with the elements from traditional tailoring jackets to present the influence from desire to human bodies by the hyperbole and abnormal silhouettes of the design work.

The designer thinks that everyone is equal in front of desire, there is no difference of gender, age, nationality and body shape, thus, she wanted to do gender less design with not only oversized clothings, but the garments structure that independent from human body, so the visual effect won’t be influenced by human body shapes. Therefore, all the datas came from different body shapes with various sized, height and genders, so the prototypes were also tried on various bodies to achieve the most balanced result.

Gaultier asked a famous question: “What is masculinity and what is feminization? Why shouldn’t men show their vulnerability and sensitivity, and women shouldn’t show their own intelligence and strength?”

This is a fashion series about gender fluidity, the designer hopes to finds a balance between the hard characteristics of masculinity and the soft characteristics of femininity, combining the two and displaying them in clothing.

In her development process, she used the basic suits bought from charity shops to transform the human body, combining two different color suits to produce deformation, to create new silhouettes and structure. She added to these suits by creating some extra features such as historical sleeves, ruff collars draped sections to the front, side, back, to combine with other structures and enhance the sense of design. She explored the characteristics of masculinity and femininity on a body through dress up exercises to investigate the blending of these two characteristics, from this she extracted the most successful elements to generate collage work and initial design ideas about cut, shape, color, fabric and silhouette.

Her design allows people in the current society who are afraid to express their true selves to express their bravery in the public with more confidence through dressing.This designer hope she can break through the public’s traditional solidified thinking about gender, through rejecting gender labels, and moving towards a wardrobe of gender freedom.

Currently, the fashion industry is one of the most wasteful industries in terms of resources. Most brands launch new products at least twice a year or more. Garments are losing their value through time because popular trends are always changing. Chao’s designs are inspired by the traditional Japanese patchworking techniques, such as “Boro” and “Sashiko”. Those techniques link to the traditional Japanese aesthetic “Wabi-Sabi”, which embraces imperfection, incompleteness, and impermanent beauty. Chao uses “Boro” and “Sashiko” techniques and the concept of “Wabi-Sabi” to repurpose textiles, deconstructing and reconstructing garments to give new lives to old pieces of clothing. This practice can produce numerous designs, giving a new life and purpose to otherwise disregarded clothing.

Shanxu Cong, also called Vivien.

As a women’s wear designer, she is concerned about women’s freedom and protection, and she also explores the development of underwear style structure to convey women’s pursuit of free life attitude.

In her opinion, the sexiest moment of a woman is the moment when she comes home, takes off her clothes one by one and lies lazily in her delicate bedroom. With this in mind, she conducted an in-depth visual photographic investigation of the process of undressing.

This is the moment to show the beauty of the female body line, but it is not limited to age and figure. The structural change of folds is a good way to express these body lines. She loved the wrinkles, whether they were in the fabric of clothing or on human skin, and she didn’t see anything bad with them. Just like she loves everything about herself.

At the heart of Kieran’s studio practice is a design ethos that is driven by combining traditional textile techniques with contemporary production methodologies. His design collections explore the synergy between creative process and production, enabling him to push design boundaries and deliver fashion and textile outcomes that have an innovative, futurist aesthetic, whilst maintaining a relationship with craftmanship and traditional artistry. These values place Kieran’s collections amongst contemporary fashion designers who are utilising fashion as a method of progression – whether that be of the body, inspiration or the use of unconventional or non-traditional materials.

Drawing inspiration from a range of cultural, natural and architectural sources, Kieran has applied a research and development process that undertakes multiple stages to interrogate initial research within a 2D and 3D context. Photography work is used as initial inspiration, which is then reinterpreted digitally via CAD programs, or by hand through various drawing and manipulation techniques. This process allows Kieran to identify areas which could be developed further and apply hierarchical value to his work based on which has more potential to be successfully developed.

Translating drawing into material prototypes continues to inspire and innovate Kieran’s design process. This is highly influenced by designers such as Iris Van Herpen, Alexander McQueen and Issey Miyake, all of which inspire Kieran with their application of contemporary technology and unconventional materials within their collections. From this point, a lot of Kieran’s inspiration is derived from the creative process and the exploration of materials. He is encouraged to push the limits of the materials at his disposal, creating hybrids which combine the attributes he feels necessary to effectively translate ideas and perform in the required manner. This exploration develops into a cycle of production and self-reflection, with each step being influenced by the previous and informing the next until the process and material are perfected within the context of the garment and how he wants them to look and behave.

Kieran’s current collection, titled ‘Transient Bodies’, has been inspired by the theme of transience – the temporary transitionary phase between one state and another. Initial inspiration came from researching the online model Imma.Gram – a virtual being who is a combination of a physical person and digital superimposition, the graphic work of Bridget Riley and kinetic sculptures developed by Nick Cave. The combination of the optical phenomena found within both bodies of work when combined with fashion, and the concept provided by Imma.Gram, was an avenue Kieran was keen to develop and explore. Inhabiting the space between fantasy and reality, physical and digital, natural and synthetic is something that has only just began to be explored within the realms of fashion. Kieran wants to continue development of the continuous dialogue between fashion and technology as more methods of creation and materials are created and the way in which fashion is presented and consumed continues to change.

The resulting collection is an exploration of pattern and illusory artistic techniques to inform textile and silhouette forms. Working specifically with polyester based materials and plastics, techniques such as sublimation printing and mediums such a bemis, provided colour and bonding opportunities that created complimentary materials to Kieran’s design concepts. This process of working has resulted in the development of the ‘living hinge’ method of fabric manipulation. Where Kieran has used laser cutting techniques to apply a complex series of pattern explorations, adjusting variables such as line distance, length and shape, to create flexible materials that distort the figure and mislead the eye as they are worn, adapting to the wearers movement.

Innovation, material research and application drive Kieran’s design process.  His undergraduate research focused on the application of varying smart materials, such as thermochromic dyes, and the application of 3D printing and laser technology within the textile and fashion industries. His master’s study has enabled him to continue this research and explore the application of relevant synthetic materials, combined with contemporary design and fabrication processes to be explored and enhanced within a fashion context. This interest has extended to how these processes can be applied at a haute couture and high street level and Kieran has constructed archival catalogues of his material development, investigations, fabric prototyping, manipulation techniques and printing specifications to accompany his design outcomes. Kieran’s long-term goal is to continue his research into material development, challenging the ways in which the industry views and expands upon the ideas of conventional materials within contemporary fashion design. Fashion, as an industry, must become more sustainable and Kieran has attempted throughout the generation of his collection to make choices which have the least detrimental effects to our environment. Further work still needs to be done in this regard and this dialogue will be a permanent feature of his design process as he progresses throughout his career, gaining experience working for like-minded fashion houses before launching his own brand which sees his own visions brought to life on the runway, whatever that may look like in the future.

Yufei Cai is a high-end womenswear designer specialising in clothing with a romantic style, aiming to offer a different analysis and concept of beauty. She explores the silhouette by utilizing flowers as a research object, breaking through conventional clothing construction by using sculpture to show the effect of blooming. The entire series of work is visual and powerful, and she prefers traditional handcraft sewing methods to make clothes. Though the use of textured fabric and fabrication techniques, she explores sensory interaction with three- dimensional garments. This is enhanced by responsible design through designing innovative womenswear that considers functionality and aesthetic so that the designs can be worn by people with impaired sight.

Inspired by the shape and structure of architecture and influenced by the Bauhaus Movement, Carolina De Jesus designs and produces intriguing, colourful garments that are environmentally conscious.

Her work stems from the simple method of hand wrapping fine threads to create abstract layered shapes. She is fascinated by challenging the boundaries that arise when producing art formed from the winding of vertical and horizontal threads. The choice of threads and colour influences each shape to respond uniquely to the surrounding light, creating compositions with innovative shapes and three-dimensional effect.

Carolina continued developing resources and techniques to perfect this craft and also constructs commissioned wall art in a range of colours and sizes.

With the purpose to produce sustainable clothing in the forefront of her mind, she carefully mirrors this technique onto fabric by decisively cutting, folding and directing squares three-dimensionally.

These patched designs have traditional suggestions that emphasise its classical and timeless element. The patchwork technique clearly articulates Carolina’s personal design aesthetic, whilst creating opportunities to revive discarded fabric, in order to produce vibrant long-lasting clothing.

There are some moments you can’t distinguish between reality and illusion. There are some blur and distant memories you are not sure they really happened or just imagination. Xiang Yu’s inspiration came from a sentence of French “Déjà vu”, it is the feeling that one has lived through the present situation before.

She explored her personal childhood memory photos and family photos, obfuscated and blurred them. Then she took a set of photos through long time exposure photography and partial lighting and extracted the blurred silhouette in these photos. She tried to twist and deform the loose and oversize garment inside by adding a slim and tied transparent vest outside to express the sense of blur. Meanwhile, she used a lot of hand sewing methods in this project. Such as running stitch and embroidery stitches, which are designed for decorated and seamed.

Yasmine Amani is a textile artist and expert embroiderer, specialising in hand embroidery and embellishments. In her work, she combines traditional hand intensive embroidery methods with contemporary and current concepts, aiming to entertain and captivate the viewer. She has previously worked on commissions for the BBC, including embellishing a jacket which was worn by Susan Calman on BBC Scotlands’ Hogmanay.

Inspired by iconography and the decorative opulence of Faberge eggs, Yasmine Amani’s Master’s project looks to turn the chicken into the icon of the 21st Century. Inspired by films such as ‘Chicken Run’ and ‘Marie Antoinette’, she aims to reimagine the chicken with a new found sense of sophistication, glamour and grandeur.

Through a limited palette and material choice, subtle changes in the differing tones, weights, textures and transparencies of ribbon can be detected, echoing the beautiful plumage found in chickens. Influenced by designers such as Simone Rocha and Valentino, her fashion visualisations aim to manifest a sense of importance in its wearer.  With an emphasis on volume, her textiles are integral to mirroring the voluptuous qualities and plumage of the chicken, adding to the overall impact of the garment. Additionally, with the exclusive use of hand embroidery methods, she creates the look and feel of a sumptuous body of feathers throughout her collection, elevating the once humble chicken to a level beyond its popularity as meat.

Yasmine practices responsible methods in her work by using second-hand materials wherever possible, sourcing these through Ebay, charity, thrift and vintage shops. Additionally, by exclusively using hand embroidery methods in the making of her textiles, this excludes the need and use of machinery for the whole textile process. Furthermore, due to her style of embroidery, it would be hoped that the longevity of the item would span out many years and cherished by whoever it remains with.

I created a new Collection with the interests and the feelings of mine which inspired by sound and silence and focused on the whole process of design through the studies at GSA. I became a surface led student and focused more on textiles in the whole year. I did much more textiles works than before and got much more than my expectation after the whole year studying in GSA. I explored the working method of fashion design and created my personal aesthetic.

I was inspired by the Artist, Film and Muse research project a lot. The muse in this project of mine is Brian Eno who works as a musician. Music gives me a fascinating world in my life, and I would like to create a relationship between music and clothes for a long time. So I was really excited to start this project. The project I was working on is to translate music and sound into garments. It was a pretty exciting project but with many difficulties, and I created a relationship among the sense of hearing and seeing by my own understanding of music and garments.

My project consists of three parts, sound part, visual part and the part of “sound” and “silence”. Throughout this project I undertaken  an in-depth research. In my previous project I took little time on research，so the outcomes were limited by my limited views. In this project I did research by the whole time in stage 1 and got much more than my expectation. So my work in stage 2 was making a selection of stage 1’s works to further my project, instead of continuing working difficultly with the limited ideas. I explored the sound materials and silent materials in stage 2, and I found flexible foam which is interesting to work with it on garments. It was my first time using an untraditional material on fabrics and it was an exiting start for my future projects.

Manwei Ou is a womenswear designer who graduated from MDes Fashion and Textile of Glasgow School of Art. Inspired by the curtains blowing in the wind of Gabriel Lester’s installation , the designer decided to research the concept of frozen in time and space and experiment with capturing old clothing in the mid-air through photography.

These images selected from the impressive shape of thousands of pictures lead to a sensitive collection of twisted, flexible silhouettes dresses and hats. The shadow cast by the clothes on the wall in the photo also contributed a lot to this collection.

The work refers to revoke the warm memory and the unforgettable moment of urban people, as well as the concretization of personal abstract emotions, second-hand garments’ rebirth. Time is unstoppable, but we had this moment.

Sa Cheng, also called Selah, is consider fashion is an art. It is a concept that can be interpreted in various ways for each individual, which, for her makes it fascinating – everyone has a different style. For some people, self-expression is difficult, having an individual style gives these people the ability to show their personality and beliefs and this intrigues her. Her interest in fashion has grown year after year through her development of expressing herself with different styles.

She always consider that beauty is not static and it can be displayed with different forms. What our designs convey most is our value. She is aiming to overthrow the traditional definition on fashion and provoke thinking of the real world in others’ mind through her designs. Structure is an important design element in her design, and different silhouettes are created through different permutations and combinations.

Her interest in fashion fuels her creativity and determination and she is excited to improve the technical skills she already has and to combine her love for fashion with knowledge of marketing and merchandising. She wants to delve deeply into the fashion world, increasing her growing curiosity and knowledge. The skills she has built on her own through her profound interest in the area and her skills.

By studying politics, she has a deeper understanding of the economy and its impact on fashion. For example, she found that due to a year of protests and demonstrations that led to a decline in Hong Kong’s economy, the overall profit of the fashion industry declined. This is very insightful because it reveals how the economic uncertainty of Hong Kong affects the fashion industry, and the fashion industry depends on consumer confidence and material demands. In addition, her research on philosophy helps she to understand human nature, so we are naturally eager to create art forms and make our ideas practical.

As a member of a generation who criticizes the indifferent and lack of inspiration, studying fashion is now more important than ever, because her determination to create timeless and influential things has become stronger and stronger. She thrive in a dynamic environment where she can reach her full potential, and she believes that the vision of becoming a major contributor to fashion will be realized by studying at university. Here, she will be able to fully cultivate her creative passion and finally realize herself.

Menswear designer Wentian Song released a mono-material Menswear range for his Master collection at the Glasgow School of Art.

Being inspired by melting ice caps and the effect this is having on the planet, Wentian Song explored different forms of primary research by freezing garments and different objects, such as silicone blocks, few pins and photos, which related to his secondary research where he looked at historical photographs of workwear.

With consideration of maximizing the recycling of garments and making garments more easily degradable, Wentian Song applied mono-materiality into his design, by using straps and knots in his garments instead of traditional buttons and elastic bands.

In order to maximize the application of mono-materiality, Wentian Song deconstructed a pair of second hand suspender trousers and removed the original trouser legs to the armholes and sewed them into an oversize jacket. Then he sewed the pocket linings as a high collar along the neckline of the jacket. Similarly, after he got a first idea, he continued to do the second one and the third one until he got the oversize silhouette and the street look balance that he want.

Where it was necessary to use multiple fabrics, removable elements were designed by using buttons and zippers on the hem to connect the linings instead of sewing them together directly, this is so the components could be removed so the jacket could be recycled more easily.