Featuring the work of 46 graduates, this year’s Royal College of Art MA show – the first under the guidance of Zowie Broach – was staged on an all-white labyrinth-like catwalk, which served as a background for everything from futuristic biker boys to rebellious nuns. Here’s Dazed’s selection from this year’s graduates.
Mad Max on acid – leather biker racesuits were deconstructed to create a colourful post-apocalyptic look.
Hold me closer, biker man:
“I started imagining a future world where Elton John was a dictator and wanted everyone to dress like he did in the 70s,” explained the designer, “but this group wanted to rebel against it, so they form a biker gang. They are recreating their identity when all they really have are the Elton John clothes at hand.” Stemming from a boredom with the state of menswear and fashion, McGee’s rebellious genderless looks in rubber, leather and tinsel ranged from rebel wedding dresses to general post-apocalyptic styles, ideal for surviving in a grey-clouded future in style. “I love Elton John. This is a celebration of him and against him,” she concluded.
E WHA LIM
Clerical chic – iconoclastic runaway nuns offered a modern twist on faith.
Believe in God and in yourself:
Religious habits were presented in all black, subverted by transparencies, exposed backs and structural neckpieces in a wide variety of materials and textures, ranging from structured to free-flowing. Using collage as a way of creating, Lim was inspired by Peter Lindbergh’s candid portraits of nuns, as well as family history: “I was brought up as a catholic, and my aunt was a nun, but she got kicked out because she talked too much apparently, asked too many questions,” she explained backstage. “I’ve never been religious, but I believe in God. So this is my way to show my religious ideas, through fashion.” She added – “I want my nun to have no rules, no obey. But she believes in herself. She keeps traditions in her own way”.
Oil slick colours combined with tinsel to create looks fit for an all-girls cocktail party on Jupiter.
“I’m never looking at photos, I’m always looking at women,” said Knorr of her inspirations. Using the body as a key part of her creative process, the designer made use of traditionally feminine colours such as red and baby pink in contrast with futuristic structural shapes that clung onto the bodies of the models. With frayed edges, iridescent sleek shades and flowing tinsel, the garments’ looks changed according the movement of the models, giving for a different take on femininity at every step.