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Around this time of year, the next crop of great fashion graduates stumble into the real world hopeful and a little bleary eyed.And for as long as anyone can remember, a hefty emphasis has been placed on the students of Central Saint Martins to come up with the goods, thanks to the school’s trailing legacy of visionaries. Naturally intrigued, Lookbooks attended the schools prestigious Static Show to see who stood out from the crowd.
Inspired by offbeat street style and Diane Arbus, Katy Dixon’s womenswear collection was all gawdy colours and synthetic fabrics. Prompted by oddly dressed people spotted on London’s Seven Sisters Road, Dixon’s silhouette was purposely ill-fitting and the designer’s olive green gathered dress was a directional delight.
Relaxed and sporty, Jessica Read’s womenswear collection was all fluid volume and neon red piping. Shirts featured raw-cutedges and Read experimented heavily with a deflated bomber silhouette. According to the designer’s directional details, the string bag is back.
As the first runner-up of the L'Oreal Professional Young Design Talent Award, Alan Lee has managed to turn the right heads with his brand of beautifully considered wearable womenswear. Long, soft structure was finished with purified attention to detail that seemed to say ‘hello, Céline’. The extra-long sweat tops featured elongated volume and the palette was predominantly mono.
Presenting a thetrical play on fabric manipulation and construction, C.J Yao’s collection fused industrial materials such as rope and wood with strong superfluous structure. Built on Asian influence, the silhouette was refreshed with an almost ominous oversizing.
Johannes Hinrich Meyer
Inspired by a personal obsession with the early 90s Norwegian Black Metal scene, menswear designer Johannes Hinrich Meyer presented a fresh and hard collection of brass armour shoulder plates and beaded biker-style jackets. Exploring the juxtaposition between the fragility of youth at the age of 15 or 16 and the spate of church arson and murders that marked the beginning of the musical culture, the edgy masculine silhouettes were revitalised with aclean and light colour palette.
Beginning with a heavily manipulated and pleated white canvas, Drew Henry enlivened his collection with abstract patches of dyed chromatic springbok hides. The silhouette was wide yet structured and his major stimulus was the work of photographer David Goldblatt from the 1950's to 70's. Key details included Ndebele handicrafts and mining workwear.