Also on the first day of Graduate Fashion Week was the University of Central Lancashire Show. Art was an overriding inspiration, with many students referencing famous paintings, designers, and muses within their collections. Whilst a monochrome theme was popular, there was no fear to try big, unusual shapes and a multitude of textures. There was no menswear, but the female models looked intriguing with face stenciling and tight ponytails.
~
CLAIRE ACTON
A playful display of retro inspired outfits, paying homage to the sixties but with a modern twist on design. One dress was made up entirely of hairclips slotted together for a scale-like 3D texture in acid brights. This colour scheme was complimented by pale tights and simple brogues, emphasising the pop-art feel. Colour blocking and excessive fringing gave the collection more depth whilst the peter-pan collars and giant print of female faces kept it young and fun.
~
TALIA GOLCHIN
This designer presented with an unconventional collection of surrealism inspired ensembles. The main focus point of Golchin’ s pieces were the body-length foam cut-out in the shape of an artfully exaggerated female nude. When worn around floaty maxi gowns of chiffon it created a contrast between sleek femininity and contorted fantasy. The use of multi texture print and unconventional accessorising meant the graduate created the ultimate statement collection.
~
HAYLEY HARRISON
The collection presented a take on classic artwork, with images of the Mona-Lisa with a pop-art makeover worn as oversized necklaces on each model. This created the basis of the collection with each outfit becoming half classic glamour and half acid madness; Box-sleeved shirts were teamed with patchwork neon leggings under multicoloured, cellophane skirts. Polka-dot prints and billowing ruched blouses rounded up the texture-heavy and aesthetically assaulting collection.
~
EMMA GUILFOYLE
‘Power, Politics, and Picasso,’ was the title for this collection of outfits that crossed parliamentary figures with cubism. The achieved look was both funky and conservative, a thwarted take on heritage. Traditional blazers were given a metallic finish and mixed with dresses in patchwork tweed. The designer used hues of turquoise, burnt amber and chalky brown, even accessorising with rosettes to ensure that for once, you can have fun with politics.
~
SARAH PALIN
Palin achieved a collection of ultra feminine designs with a white and watercolour colour scheme. The choice hues of cool turquoise, soft pink and streaks of amber worked well against the paper-like dresses. The frocks were thin, crisp and crumpled, looking ready to tear to give a fragile and natural feel. Palin featured mini, flared, pleated skirts and angular shoulders, but kept the finishing of her gowns rough and ripped for a fairy-like quality.
~
SAMME WILLIAMS
The ultimate sport-luxe collection, a mix between cyber space and your local gym for a fitting tribute to the upcoming Olympics. The colour was kept to a minimum with white all over, with only red details in the patent accessories and finishes of the clothes. Williams kept her collection unique though by mixing the sportiness with femininity; teaming an all-in-one body suit with a corset underneath, and the use knitwear, ruffled chiffon blouses, and choice of brogues contrasted the legging-like bottoms.
~
LAURA BOWLER
This delivered a modern and zealous collection with an all-white ensemble of paneled dresses, stiff two-piece suits and cyber-style gowns. The look was structured but each piece had unique detailing. One dress stood out from the rest with its crazy bundle of knotted fringing on the chest enhanced a 3D feel and made it look as if it were moving.
~
ELICIA ADAMS
True to name, Ms. Adams showed outfits of long black material with Halloween orange accessories. She placed an emphasis on tailoring, creating drapes and cut outs for detail. Rather than visual imagery, her collection was more about flow of the material, using high-necks and long hems to ensure skin exposure didn’t detract from this.
~
CATHRINE SYLVESTER
A collection that successfully contrasted futuristic geometric shapes with delicate femininity. The pieces featured pure, clean white as a main colour and modern, shimmering silver for detail on its unique feminine shapes. Dresses were ornate, with metallic finishing, and sleeves and legs were cut-out and bandaged around the skin. Fabric was ruffled excessively, particularly on the back of one evening dress for a mermaid-like look.
~
SAMANTHA MESSIAS
Messias kept with the monochrome theme but instead focused on the texture of the fabric. Material was cut out and individually ruched for a 3D affect. The outfits were aerodynamic and bent around every unconventional female curve such as shoulders and elbows. The rest of the material was kept to a transparent chiffon to add delicacy.
~
HEATHER GERRICK
Gerrick added feminine hues of lilac, lime, and fuchsia to her monochrome smock dresses and baggy trousers, and added CAD cut outs of flowers in floating streams from the top. The chest of the dresses featured these florals in bundles for a 3D scale affect.
~
STEPHANIE CUNNINGHAM
The collection was a mix of comic and modern, showcasing the best of English opulence. Cunningham’s designs were innovative with skirts made to look like picture frames, and dresses made out of tapestry. There was an array of brocade imagery and overdresses were made from hanging jewels, to add even more majesticness to the already rich attire. The designer took inspiration from classic renaissance paintings, and the collection overall achieved an antique look with a colourful modern edge.
~
KATIE WILKINSON
The collection featured bright prints of both faces and landscape in colours of burnt orange and teal. The visuals were almost tribal looking, and though the overall theme was sporty casual, the evening accessories meant everything became versatile and alluring.
~
SARAH WHALEY
The collection focused on the use of digital print, with saturated images of nature patterning floaty body suits and draped mini-dresses. Detail was evident in the ruching and folding of the fabric, and the delicate silhouettes made it perfect for summer. The collection had the femininity of Erdem with the visual appeal of Basso & Brooke, meaning the overall effect was beautiful and wearable.
~
RIZWANA MATADAR
The collection had a strict colour scheme of royal blue, acid yellow and dark purple, with emphasis on structure and movement. Each piece was draped and free-flowing and Matadar’s inclusion of 3D twists became its trademark feature.
~
LIYING YANG
Yang also had a royal blue and yellow colour scheme, with the inclusion of dark candy pink. The collection had an assortment of both evening gowns and more casual jumpsuits, with ruching and pleats to display the tailoring skills. The stand-out feature of each ensemble though was the use of angular, perspex flowers – sometimes used as brooches to accesorise, and in another dress as the frame around the entire upper of the gown. These twinkled in the light and made the dresses form an identity of their own.
~
XIAOPING (FIONA) HUANG
The zaniest of the collections was saved until last, with Fiona Huang’s 3D zig-zag extravaganza. Her inspiration could easily be determined as music, as print included images of music-sheets, and the boxey shapes likened that of a concertina or accordion. Material in these parts was stiff and stripey, whilst the rest of the material was outrageously bold with colour. Overall, the pieces formed a combination between Beetlejuice and a children’s party clown making it one of the most memorable of the day.
~
Words by Elle Jenkinson
Photos by Debora Palazzo
.
