Westminster University BA AW19
The frill delicacies of Bruna Ignatowska’s womenswear breathes romantic ideals, giggling at over-dramatic love and liasons, and bathing in her obsession with colour and detailed embellishment; Erotic illustrations of Toshio Saeki impelled Louisa Yung to reject female submissiveness in erotic art, whispering 80s boudoir and fetish wear influences, while Melissa Eakin infused her eccentric Guatemalan cowboy grandfather into her hand-paintings for awkward layering, illustrated knitwear and western tailoring. Georgie Fallon, Oscar Doak, Lidiia Pyshna, Linda Zhuang, Annelise de Swart and Emily Collier also impressed with analyses of fantasy worlds, heartache, altering personalities and utopian architecture.
Glenn Wigham’s menswear toasted ‘Operation Pedastool’ as a saviour of Malta with visual reflections of combat chaos and via weathered prints and disrupted stitching; Jade Godwin’s slim silhouettes and references to Victorian etchings narrate the great masculine renunciation of the 1800s, merging the traditional and contemporary and Ishbael Maclnnes traces childhood gestures and constraints with playful 3D processes.James Harjette, Anna McKernan, Eduardo Vegas also stirred with science fiction, hand-crafted heritage and threatening translations of ‘the Wall’. Tactics like this facilitate the London fashion scene to be more inclusive to young creatives, spurring on industry development. With rousing concepts and striking aesthetics, these collections announced new talent on the scene.
photography CELINE ANTAL
words KATE BISHOP
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