graduatefashionweek.com/search-portfolios/haider-ahmed

‘The Last King of Indore A/W22’ pays homage to the Maharaja, Yeshwant Rao Holkar II, the last ruling monarch of the royal state of India. Born in the age of British imperialism, his world was separated into two identities: Western aristocratism and Indian patriarchy. This collection explores the garments of royal Mughal costumes, taking elements of the symbolism that differentiated the classes of society before western influences. It also takes elements of British tailoring which itself was a form of superiority and elitism. With the dyadic nature of western influence that led to a systematic construct of white superiority in India, the collection changes the narrative by enhancing British tailoring with Indian draping and construction to create a new form of Indo Western design. In effect, the final line up results in a concept that sees Indian clothing as not barbaric or just ’ethnic’ but shows the beauty in its rich history and symbolism. Creating outfits that show there is a world where the late Maharaja is no longer torn, a world that he can belong to.

@nadia.ali__

‘A malleable canvas’

A womenswear collection that evokes an inspired narrative through explorations of art and clay. Acknowledging the confines and complexities surrounding metric pattern cutting inspired the exploration of artistic silhouettes. Using inherited creative pattern cutting methods to inform a personal approach to cut and drapery. Initially drawn to abstract pioneer Picasso’s 1954 ‘Sylvette Vallauris’ portrait of a ceramicist. The book ‘Picasso in black and white’ documents this era of Picasso and works ‘in lieu of colour’ in attempt to highlight the structure and form explored through painting, sculpture and works on paper. The core of the collection visualises ‘the marks of the maker’ an authentic response through fashion design practice.

Additionally, a written body of work drew remarkable comparisons between the methods involved in both pattern cutting and ceramic forms, which is apparent throughout the collection. Block-less design strategies and drapery fused with unconventional sculpted art pieces embody an emphasis of fabric selection and silhouette refinement. The use of subtle colour and texture through fabric and trim selection referenced the study and incorporation of clay as a shaping material. A season-less collection that aims to refrain from conventional design methods, aiming to embrace unique cutting through sculptural, slow fashion.

askewhattie731c.myportfolio.com

I have a key focus upon womenswear and gender-neutral clothing with a combination of colours, prints and patterns. I am a designer that detaches from fast, trend-based fashion to focus on a more in depth, high quality set of garments that are able to be worn for many years after purchase. Throughout my course I have explored various aspects of design and different designs styles. I have created both commercial and editorial collections whilst upholding my design integrity throughout, allowing my specialities to be shown through the briefs provided to me.

Taking the skills and lessons learnt throughout my time at University I created my final collection; Escape to Reality. This was a gender-neutral collection featuring print and layering, with a key design focus toward escapism allowing for new methods of design to be implemented and for me to push further out of my comfort zone. I wanted this collection to give the customer a range of garments that can be formal or casual whilst implementing modularity within the overall outfits so that they may be interchanged to give everyone a way to escape reality.

@flourishing.hearts / abbie.ayres98@gmail.com

While working on her graduate collection ‘The Psychedelic Experience’, Abigail took inspiration from artists such as David Bowie, Andy Warhol and Jean-Michel Basquiat. Following this research, the use of drugs and creativity were linked to form a collection with the application of repeated pattern and interesting silhouettes. The dissertation consisted of research into these artists and the link between their alleged use of drugs and how this could have influenced their creative style.

The final collection looked at rave culture and the use of psychedelics to produce a vibrant, unique line-up while also including the initial research into the chosen artists. Taking into consideration the current climate, Abigail focused on producing made to order garments for the individual consumer, rather than overproducing and accumulating dead stock, often ending up in landfill. In addition to this, left-over fabrics are used to make bucket hats to be sold for everyday or festival wear.

A photoshoot will be undertaken for ASBO magazine, featuring the press outfit designed for this collection, this will by styled to suit the rave scene, using different lights and styles of photo editing.

Leigha Barker's menswear collection 'Back to the Roots' is a reflection of her own personal Scottish heritage, family legacy and traditions. She strives to embrace and unveil her family name and all the hidden visual stories that it withholds.

The ornate 'Barker' family coat of arms crest is a key source of inspiration for the design, silhouette, colour palette and features throughout the collection. Features of the crest such as the symbols it obtains are strongly implemented throughout the collection in various ways such as prints, embellishments, shape, and structure.

The collection's colour palette is a reflection of the Barker crest and heavily features the colour royal blue throughout as it is not only a prominent colour of the crest but is also representative of Scotland through the Scottish flag.

Tailoring is also a key focus feature taking inspiration from traditional highland dress with a contemporary twist of draped and gathered sleeves, asymmetric detailing, and zip fastenings.

Overlays have been placed onto trousers with added kilt features in a Barker family tartan. Such tartan has been reinterpreted and designed in contemporary ways and printed on voile that has then further been layered on wool worsted cloth trousers. Leather cording is featured throughout the collection tributing the Scottish traditional ghillie shirt.

The fabrics used throughout the collection are a combination of heavy weight sateens, wool worsteds, woollen checks, voile and tartan cloth combined with cotton shirting. A variety of the fabrics used throughout the collection were kindly donated by Alexander McQueen and Alfred Brown.

‘Are we in space yet?’ is an outfit which revolves around the creativity of the space race fashion of the 1960’s - I wanted to take a garment that is traditionally masculine and make it feminine.

With a Polyvinyl glossy orange skirt being a very classic take on the mini skirt, bright orange was chosen to give a clear indication of the sixties as well as being paired with stark white go-go boots. As a contrasting piece the pullover explores the shape and silhouette of astronaut suits in the sixties, spacer mesh being the fabric selected as it has a futuristic look with the honeycomb structure. Name tags and industrial pockets have been placed as if on an actual astronaut suit secured down with velcro. Cropping and elastic has been added to help cinch in and create a more feminine silhouette. An embellished bucket hat is an accessory which compliments the outfit perfectly - as lighting hits the mirrored tiles the reflection mimics stars in space.

@leahburkedesigns_

As climate change is becoming more of a threat, what life will be like once the world starts to change is a big question. And the collection ‘what will we wear’ responds to that question. The collection was inspired by a student project done at the Icelandic University of the Arts in 2020. As a smaller side project what clothes would be worn by the people in these buildings was discussed.

Plastics were the first to be experimented with, Leah found thinner plastic could not be recycled and used these first. Then surplus coffee bean bags were sourced, and a coat was made along with donated buttons. Finally, a parachute was found, and bags and trousers were made from this. Every outfit in this collection was made with materials that were otherwise going to be thrown away. In terms of design each outfit also had a huge focus on practicality and weather protection. The clothes have an abundance of pockets, where possible, rain protection and detectable items.

The ‘what will we wear’ collection was designed to look like an insight into our possible future and it fully embodies Leah Burke as a designer, it is sustainability with a statement.

@hollie_catley_fashion

‘Rip Her To Shreds’ was inspired by the female artists I listened to growing up. Taking a focus on Debbie Harry, Grace Jones and Dolly Parton, I researched into how these female icons broke the male dominated music industry of the 1970’s and how these can be compared to modern day artists such as, Billie Eilish and Megan Thee Stallion. The research evidenced that there is no fit standard for how a feminist can dress but rather a range of different silhouettes, fabric and colours that can make one feel empowered.

The collection became a satirical take on the idea that no matter how a female dresses, they will receive criticism. By utilising bright prints featuring these female icons as embellishment, the collection aims for the wearer to feel celebrated to juxtapose how little recognition women get in the music industry and mirror the ways in which Debbie Harry, Grace Jones and Dolly Parton used fashion to demand attention. As time has progressed the notions associated with empowerment have too, ‘Rip Her To Shreds’ ensures that every that wearer has the ability to create their own empowerment with a collection that alters and aligns with their own views.

'Maybe I'm just like my Mother'

'Maybe I'm just like my Mother' explores themes of both personal and shared identity paying particular attention to youth subcultures from 20th century Britain. This body of work analyses the ways in which we share our identities amongst chosen groups of like minded individuals and how fashion can unite us. Having been actively going to local gigs since the age of 15, Connie believes that the crossover between fashion and underground music scenes is especially notable. Using an archive of family photos combined with research from the Youth Culture Museum, Connie's final project attempts to revive past fashions in the present with a playful twist.

Looking through family photo albums and delving into our heritage can help to strengthen our identities and build on our sense of self. After receiving a photo album put together by her grandfather before his passing, Connie was inspired to map her identity across fabric the way he had done on paper. This collection aims to create narrative, allowing the chance to tell her own and her family's story whilst also mimicking feelings of nostalgia and the emotions that come with it, by putting a fresh spin on dated but once loved style.

@mattyhollis.art

The collection ‘Is this Fashion? Or Art?’ is a deep dive into all things Lucian Freud. The harsh level of scrutiny and immense texture using the thick build-up of paint, so the brushstrokes are visible is what first drew me into Freud’s portraits. The intense analysis of his subjects provides very raw, real paintings often not hiding, and in some cases highlighting), the imperfections of his subjects, creating very elegant, classy portraits.

Within the collection, the main focus was the texture. The shirred dress reflects the idea of rolls of skin, and creates an interesting silhouette, with lumps and bumps in places that there wouldn’t normally be. I wanted the dress to be a playful and light-hearted take on this, creating a piece that’s a bit strange and challenges fashion design’s role in the art world. The mesh dress features a print collaging various portraits of Freud’s and then distorting the image. This produced an interesting print painted onto the body from neck to actual fingertips. I wanted the wearer to feel as though they had actually become a part of a Freud painting.

linkedin.com/in/julie-keys / @julieleefashion

I am a contemporary womenswear designer, specialising in sustainable design and repurposing textile. Graduating in 2021 from Leeds Arts University, my graduate collection focuses upon giving knitwear and jerseys a new lease of life, combining different textures to result in a completely new, contemporary garment.

During my time at university, the ethics behind fashion and it's sustainability issues really interested me. When it came to my final year, I knew that I wanted to look at these issues more in depth, and allow my research to be at the for-front of my collection.“ Patched Up” is a S/S 22 womenswear collection, which uses second-hand jerseys and knits, found from various charity shops and reseller across the UK. These second-hand garments are given a new lease of life, by adding interesting features and combining with bright and pastel shades of overlock stitching.

The initial point of the collection started by looking at the inherent injustices suffered by those in third world countries, at the hands of fast fashion. The extended essay written whilst working on the collection focused on the negatives of the second-hand clothing industry and discovered a mere 10% of all clothes donated to charity shops actually go on to be sold, with the remaining clothes ending up in either landfill or going to third world countries.

‘Grow up’ is a timeless collection not based on trends. It is inspired by a Chinese traditional baby --- ‘Baijiayi’ 百家衣(Hundred family robe). It is made by multiple fabric offcuts collected from different families. The type of fabric has a meaning of blessing in it and different colours of fabric mean different things (e.g. green means keep the baby soul safe from the evil spirits). All the design’s in this collection are created by various fashion industry waste such as fabric off-cuts and deadstock fabrics.

Experiments were undertaken to see the limitations of different patchwork designs and the way to enhance an object life-cycle. Waste would not disappear but good design can surmount time and be passed on for future generations to inherit, passing the message on of love, care and people. Especially under the current circumstance, when people feel lonely, sad and disappointed easily I hope this collection can bring customers back to the moment of happiness the feeling of being surrounded by love.

Inspired by XVIII century Spanish traditional costumes and their representations in artworks by Francisco de Goya, my collection aims to embody a new aesthetic that would help Spain differentiate itself from the rest of the world, and allow women to display their heritage through fashion in today’s globalised society. I have adapted and redesigned some staple garments and accessories from that period by using unconventional materials and modernising the silhouette.

Similarly to Spanish national costumes devised in the XVIII century, the collection aims to solve some issues in the current fashion scenario. The materials used in the collection were locally sourced from small independent shops in an attempt to boost the local economy. It also aims to reduce unnecessary, excessive consumerism, by using good quality, long lasting materials, thus expanding the garments’ life-cycle. Finally, its last goal is to end cultural homogenisation, a consequence of globalisation.

graduatefashionweek.com/search-portfolios/wen-ting-lai / @http.wlai

In a world that is polluted with noise and distractions. The world can feel like a tough place. The sound of silence: Silence is liberating. The persistent onslaught of sound in our daily lives and constantly searching for ways to escape from the noises and reality to a moment of peace. As peace is a precious commodity. SONUS was founded as a ‘healing platform’. A quiet place. A moment for you to feel, comfort and heal.

As a young conscious designer, Wen Ting believes that the emergence of sound, art and fashion has an immense power to heal. It is therapy. Symbolising the five senses into her design and the focus of a particular self-imposed mission to explore matter itself. This notion of ‘matter’ might relate to the ‘fabric’ or ‘garment’ or ‘emotion’.

Will Lewis is a British fashion designer, graduating from Leeds Arts University with a B.A. (Hons) in Fashion Design. Originally studying womenswear, Will began incorporating ideas of gender fluidity into their work as a direct relation to personal life. A genderless collection was the starting point for the graduate project but was met by questions of own gender identity, making this subject a very personal journey.

Fashion and its link to social politics inspired Will to begin designing with a more open mind in their second year of university. Submerging in constant news of sustainability, inclusivity, and environmental issues whilst in a global pandemic meant the inspiration had to come from somewhere close to home. Although limiting some aspects of university education, it was a time of reflection and contemplation along with returning home to the countryside that allowed Will’s creativity to channel into a celebration of culture and identity.

The ethos of the ‘Out’ on the Farm’ collection stems from the breaking down of gender barriers through the use of clothing. It is designed with thoughts of practicality and combines fashion with post-war British Farm life. With influences of neo-Victorian romanticism, the collection celebrates what masculinity and femininity within farming could look with a more developed attitude.

@catiemacgregor

With a desire to bring more joy to the world, Catie’s practice revolves around creating fun and playful garments, whilst considering the emotional connections to our clothes that give them their longevity, made with love to be loved and cherished for a long time. Whether women’s, men’s or childrenswear, her collections use narrative and storytelling to provide an escape from the everyday.

YOUTH IS ONLY EVER FUN IN RETROSPECT is a shrine to the playfulness and freedom of childhood, and a yearning for the carefree and innocent times which seem so distant from the current climate of modern society. The collection is a nostalgic look at the bright colours and shapes which influenced our youths, drawing from memories, and aspects of childhood we long to relive.

A womenswear collection, with childrenswear at heart, there is a focus on using craft techniques which often have their own nostalgic connotations. The hand produced nature of the garments also help to maintain a sustainable practice; blending considered and contemporary design, with the emotional connotations of home made items.

@im_eve_el

Eve-Elodie Metcalfe is a British fashion designer due to graduate from Leeds Arts University Summer 2021. Specialising in womenswear design, Eve-Elodie works with sustainability at the forefront of all her creations. Using repurposed materials to create garments made to last, whilst reducing their environmental footprint. Eve-Elodie’s graduate collection ‘Late Night Double Feature’ pays homage to the cheesy B-movies of the 1950s, old-school horror comics and the low budget scares that continue to influence pop culture today. The women depicted in media at the time typically conformed to sultry seductresses or doting housewives.

The collection was designed to challenge these stereotypes, with non-traditional silhouettes, contrasting oversized with formfitting shapes. As a designer emerging off the back of a global pandemic, political unrest and social upheave, Eve-Elodie wanted to create pieces with an air of whimsy and fantasy - a form of escapism. Her love of all things fantastical resonates through her work. The collection ‘Late Night Double Feature’ encourages embracing individuality, embracing your quirks and not taking yourself too seriously.

DO YOU KNOW WHO YOU ARE? is a collection inspired by Edwardian womenswear, using key historical design features to feed into contemporary menswear. Focusing on 1900s silhouettes with big volumised sleeves paired with tighter corsets, Megan wanted to create a look Harry Styles could wear on the next Vogue cover. Although she was designing for men, she wanted to have an overall feminine look to the collection and make sure it was gender neutral, and suitable for anyone to wear.

As a designer, Megan has thrown herself into projects for menswear, womenswear and gender neutral clothing. She is looking to take forward menswear into a career, and has particular interests into pattern cutting and technical garment construction. She has used historical influences frequently in her past projects, her menswear module from second year in particular was based from the evacuation at Dunkirk.

For my final major project, I wanted to create a project that reflected myself and things that I am passionate about. Through research I began to develop a project that shows my love of old Hollywood movies and the stars of the time. I also wanted to incorporate swimwear as I used to be a competitive swimmer. I did this by researching the actresses of the Hollywood Golden Era and looked at the type of swimsuits and patterns they wore to the beach and designed a collection from those images. I then went a step further and designed outfits to go with each swimsuit. The direction I went in was to create a glamourous swimsuit range that was modern with reflections of old Hollywood. I reflected this through the colour pallet by choosing white to dark blue which was inspired by the shades of the ocean. I used patterns in my designs that linked to the 50/60s but paired them with plain fabrics to create a more glamourous feel to the collection. Finally, I added a little extra touch of glamour by sewing pearls on to the swimsuits and garments.

@ipekonukfashion / youtube.com/channel / ipekonuk3@gmail.com

‘Constructed Fluidity Demi Couture Collection' was designed during the second wave of Covid-19 by Ipek Onuk. The return to connecting to our roots, culture and spirit, inspired the theme of the collection as the designer spent the pandemic back in her country, Turkey. Overall, the collection has a structured, minimalist and sleek silhouette in a colour palette of soft pastel hues. The designs also feature an illustrated print inspired by the architecture of Istanbul with a light romantic feel.

The fabrics used in the collection were mainly from deadstock sources or have been kindly donated by the companies the designer had interned alongside her studies.

The colour scheme of the collection was influenced by the architecture of Istanbul and marble stone, which was heavily used throughout the historic buildings around the city. Each garment explores the similarities between architecture and fashion.

The structural aesthetic throughout the collection has been achieved with Creative Pattern Cutting techniques and Draping. Each one of the garments was carefully designed to reflect the story of Ipek Onuk.

estherrands2000@gmail.com

I am a fashion designer based in the North of England. My focus within Fashion Design is primarily womenswear. My niche is to use my platform within the fashion industry to create awareness; to give an example-my graduate collection has been inspired by women working within the legal industry. As a designer I do adopt a conscious work ethic and take careful considerations when creating and producing designs.

In recent years, we have seen some of the most prolific examples of unjustly treatment amongst one another, which has only been accompanied and exacerbated by social blindness. With a blend of generations who have been subject to the exposure of the World War, to threat of nuclear war to a global pandemic; there has always been some need, which has been presented in a myriad of forms, to create activistic statements to engage with said generations. Fashion is a platform that most understand and can get involved with and it isn’t necessarily as intrusive as other forms of activism.

@sara.rifatb

The capsule collection “Limbo” brings together my work in Lebanese refugee camps, and the need for humans to be part of something bigger than themselves. The concept of the collection is to create a parallelism with society, many people in privileged positions ignore what is going on in the rest of the world and turn the other cheek to just see “the beauty” - by creating a set of beautiful dresses with powerful messages embroidered through we are able to see who takes the time to read the messages camouflaged in the dress, and who just sees the exterior and beauty without taking the time to read it.

As I graduate from Leeds Arts University I hope to be the designer I envisioned as an eight year old. Someone who designs with sustainability and concept in mind, creating unique pieces by hand that continue telling stories and starting much needed conversations, such as my graduate collection. It tells the story of my work in the Syrian Refugee camps in Lebanon’s Bekaa Valley, and how 1.5 million stories get lost in it. We are in the middle of a pandemic but so many more things are going on, and our duty as artists is to use the mediums we have been gifted with to light up a spark.

grobinson861@gmail.com

The intention behind the concept of the collection was to to pursue and extract references from archival fashion and music fromthe 90s/early 2000’s and articulate them through contemporary design. The outcome and final response of the press outfit was executed by transferring attitudes from 90s minimalism into modern tech and outdoor wear. Utilising trimmings and fabrics with durable water resistant properties and attributing them through clean cut regular fitting design. Fit and Silhouette of the garments was inspired by late 90s Helmut Lang and Prada collections. Colour was driven by creating mood boards bycollaging images from album covers, films, photography and fashion magazines.

George Robinson is a 22 year old emerging creative soon to graduate from Leeds Arts University, from Harrogate, North Yorkshire. With a background in Arts and Design, rooted in fine art and graphics, George has always been fascinated by articulating and referencing his influences through fashion design.

Tom Saville is a graduate designer that found a passion for sustainable design while studying at Leeds Arts University. Coming from a self taught background, Tom refined his practice and influences over his three years of study. Forming a personal connection to sustainable design throughout his second and third years.

Tom’s graduate collection, BioRenegade, surrounds the concept of imbuing sustainable fabrics with live Algae as a substitute for traditional fabric dye. Combined with organic fabric manipulation and design, the collection demonstrates a combination of classic elegant silhouettes with contemporary sustainable methods.

Tom aims to develop both his scope and technique through a Masters, with the hope to eventually translate his methods into the industry through his own label.

@csjaneradesign / chloejsdesign@outlook.com

In the fashion industry today there are a variety, maybe too many different styles of wedding dresses. Also, the wedding fashion of today is still very much traditional and very white. I think it is important that on ones wedding day, the bride must feel like she's being her genuine self through what she is getting married in. Why should a bride where white? What are the future designers going to make for the bridal industry in the future?

Chloe Janera Sharp is a British fashion designer, that is due to graduate from Leeds Arts University 2021. Throughout the last three years she has gone through many different styles, and what has always stuck is she’s as girly as ever and still can’t loosen the drawing style. She has always wanted to focus on bridal-wear but has heard back this year due to making sure that is definitely what she wants to do in the future as a career. Chloe’s third year was based on designing a collection, where the bride would not wear white, but vibrant colours from the 1960’s. Also, Chloe thought it would be special to base her final collection on the 1960’s because that is same module work she brought in to show Leeds Arts University for her first interview. She has created a Bridal wear collection that expresses 1960’s silhouettes and colours, but we a modern twist. The Graduate Collection is called ‘Beau Socialite'.

@lexie_taylor_fashion_design

“A Stroll on the Beach” collection pays homage to the painting by Michael Ancher in 1890 of five Victorian Bourgeois women walking along Skagen south beach. The aesthetic is inspired by Victorian dress attire and and corsetry combined with the modern day prairie girl. Romanticism and femininity are at the key of the collection and is how I want to represent the modern day women. I wanted to create a look that brought an air of sexiness to the wearer while also being comfortable and bringing a feminine aesthetic.

The press outfit consists of patchwork quilt where the fabrics were re-purposed from my grannies quilted blanket to give it a new form of life. “Hidden in Plain View” the book about the history of quilts was referenced to in my design on the corset where I used the cross road design detail. Using 100% organic and up cycled materials in this collection which was an inspired reaction from COVID-19.

‘IPHIGENIA’ is a bespoke brand that celebrates Greek culture. The collection ‘ORTHODOXIA’ is a tribute to the religion and beliefs in the Greek Orthodox Church. Throughout centuries, Greek culture has adapted and developed; the collection is to show the modernisation of Greek culture. Despite the Greek Orthodox Church being strict with their rules, the majority of Greece are allowing the move towards the new age, by creating new variations of the symbolic symbols. ‘Iphigenia’ ethos is to bring a new light to old traditions however to stay true to the original design.

Iphigenia Tsansizis- Wheatman is the designer behind the collection. Born and bred in Athens Greece; Iphigenia shows her passion for her country through each collection. Sticking to her Greek heritage, each design projects an aspect of Greece in some way.

Each garment is hand crafted and has a significant meaning behind. Using traditional methods to create the garments however with a modern twist, which goes back to the brand ethos. Cut out details are the main feature of the collection; revealing the bold prints and heavily embellished designs. The idea behind is to show, the old ways developing to new modern ways.

Taking into account both masc and fem bodies, Anastasia brings historical techniques and aesthetics into modern gender-neutral designs in a whimsical manner.

Her latest collection ‘Death Theatre’ explores the burdens and constraints of mourning practices in Europe and contrasts them to the ideas of death as a catharsis and how these cultural notions promote specific behaviours akin to a scripted act. Having a personal emotional apathy towards death, Anastasia presents her graduate collection through the eyes of an audience witnessing a theatrical play, where actors have to play out their expected roles, either through stoicism, controlled displays, or the passing of burden.

The juxtaposition of stiff boning and canvassed tailoring to light fabrics and flexible smocking exhibits these ideas in a playful manner, akin to medieval explorations death through ‘danse macabre’ iconography, which the collection itself drew references from.

@ellwestfashion

The inspiration for Ellie's final major project was her concern for animal cruelty. Ellie has always been extremely passionate about animal cruelty, this lead Ellie into researching different aspects including history of animal fabrics (focusing on the Renaissance period) as well as the on-going issues of animal cruelty within the circus. Although animal cruelty is still a huge global issue, the media often neglect to represent this; therefore her collection slogan is 'Not everything is as pretty as it seems'. All garments designed In Ellie's 'Cirque de la Renaissance' collection consist of animal cruelty free fabrics, sourced locally to support smaller businesses. Ellie planned to create and sell her garments on a made to order basis, for this collection and future. The range of garments are also easy to mix with each other, another sustainable aspect when considering buying multiple garments to create different outfits rather than sourcing elsewhere. Ellie recommends visiting PETA.com for more information regarding animal cruelty.

@tiawilsondesign

‘HIT THE NORTH’ is driven by the uniquely gritty culture that can only be found in the North West; a contemporary menswear solution to celebrate personal identity and subculture. For the initial Covid lockdown, Tia went home to her parents' house in Wigan, Greater Manchester. A lot of this time was spent reflecting, and looking through family photo albums that document life in the North of England from the 70s to the early 2000s. This prompted Tia to think about how rich in culture the North West really is, and how it deserves to be celebrated.

‘HIT THE NORTH’ also looks at the importance of hard-wearing, long lasting workwear, particularly denim. Tia’s hometown in Manchester, is, and always has been a mining town. Looking at traditional mining uniforms and fabrics, the collection uses locally woven, heavyweight selvedge denim deadstock kindly donated by Hewitt Heritage Fabrics. Additionally, the collection takes influence from sportswear; a reflection of the importance of grassroots teams within local, working-class communities; particularly amongst young people. Tia’s final project aims to reflect her upbringing, touching on the humour and grittiness of northern, working class towns and the people that make them so remarkable.