The 30-graduate strong MA Fashion show at the Royal College of Art marked former designer Professor Wendy Dagworthy's last show as Dean of the School of Material, as she retires from the College in July after 16 years. Her farewell show saw high-tech and artisanal processes applied with exquisite technique in collections ranging from the minimal and restrained, to brash and loud. Here, Dazed fashion editor selects her favourite graduate collections from the show.
Bonded, fused and peppered with holes to create an engineered artwork.
Plasticised net trapped in layers and fused into wool, while laser cut black satin revealed a ocean of blue and green fabric beneath.
Like dried flowers trapped between the pages of a book, delicate lace came in paper thin, PVC-coated neon.
The new cagoule: cropped and melded with sweaters, and slashed into scarves and balaclavas with protruding zips and toggles.
Irridescent beetles trapped between layers of ghostly white tulle, as cracked metallic leathers bulge and billow around the limbs beneath.
The concept of an ‘exploded silhouette’ saw giant pattern pieces drawn in with elastic and extensive gathers to create billowing shapes.
Scarring and destruction as silk taffetas are distressed into threads, and draped around the body in otherworldly shapes.
‘Doom Town’, a fake town in Nevada where the 1950s atomic bomb took place. The destroyed fabrics emulate the burned clothes and mannequins in Doom Town.
A botanical sci fi of space age rose goggles and regal knitwear coats.
Neon silicone flowers bonded onto knitted lace.
IDA GRO CHRISTIANSEN
New silhouette ideals as plastic skeletons swoop around the body forming bulging bellies, hooded skulls and drooping forearms.
Block colour looks saw the plastic bones fused with tulle and wool, in nude, orange and an electric blue that glinted in the light as if a current was coursing through it.
A feather and fur moss sprouts from the seams of trench coats and nylon sportswear, as if they had been dropped in a forest or garden, forgotten, and overgrown.
Kelly was said to be inspired by the moment when a memory comes flooding back; the small bursts of feathers like an unraveling thought in the mind.
Eastern debutantes in kimono-inspired, knitted gowns and dreamy ruffles.
A pastel, digital grid pattern faded to a pure, angelic white in the final looks.
After a series of minimalist, restrained collections came Dindler’s explosion of colour, digital print, gaudy crystal embellishment and patchwork furs.
African costume fused with 1970s fashion and graphics, and 1990s hip hop attitudes. Tired concepts of gendered garments are disregarded as leather and sportswear are trimmed with frills and crystals.