W: Maximiliano Dubois
The University of Westminster’s Class of 2020 graduate showcase emerged as a defiant explosion of creativity, proving that even amidst global uncertainty, the pulse of fashion remains rhythmic and bold. This cohort distinguished themselves by "trawling through the Past, Present, and Future," resulting in a graduate showcase that was as intellectually rigorous as it was visually spectacular. From the meticulous preservation of heritage techniques to the daring deconstruction of modern silhouettes, these designers displayed a diverse and eclectic range of influences that transformed the runway into a living archive of human culture.
The collection highlights were defined by a brilliant tension between nostalgia and novelty. Hannah Sosna captivated the audience with a refined and playful evolution of menswear, cleverly grounding her sharp tailoring with the faded geometric color blocks of 1960s TV test cards. In a similar vein of retro exploration, Fennuala Butterfield leaned into the whimsical charm of 1970s kitsch, while Karolina Brown looked back even further. Brown’s garments resonated with the sheer opulence of 19th-century masquerade balls, utilizing heavy embellishment and intricate embroidery to create pieces that felt like modern artifacts.
The technical prowess of the show was further bolstered by designers who treated fabric as a medium for social and structural commentary. Jakub Nowacki and Jonty K brought a raw, contemporary edge to the lineup, showcasing an ability to marry streetwear sensibilities with high-concept construction. Meanwhile, the work of Mellmann and Marina Patalano demonstrated a sophisticated understanding of form and fluidity, offering a glimpse into the future of luxury feminine and non-binary aesthetics.
Perhaps most reflective of the show's lasting impact is the meteoric rise of designers like Steven Stokey-Daley, whose ability to weave narratives of British class and identity has already begun to reshape the industry. Alongside the bold, identity-driven work of Vanessa Bon, the Class of 2020 has solidified its reputation as a vanguard of the new decade. Together, these graduates didn't just show clothes; they presented a multifaceted vision of what fashion can become when it respects its history while fearlessly eyeing the horizon.
What occurs when English country gents collide with acid techno ravers? Jonty K. Mellmann provides the answer. Within his graduate series, the designer proposes a fresh aesthetic for the dancefloor: ‘Crusty Countryside Partywear’. “It’s argyle meets acid techno, tweed for terrorcore fans and neon everything,” he explains. His BA lineup is flooded with quintessential rave staples—puffer jackets and smiley faces—blended with tweeds plus Wellington boots by Ruth Angel Edwards. While celebrating subcultural history, this work retains a personal link: a jacket hand-painted by his mother, Susan Douglass. It is a visual banquet, presenting a unique vision using “deadstock fabrics mixed with hi-vis and a patchwork fetish.”
Drawing from the customs and ceremonies of elite British institutions like Harrow and Eton, his work presents “a romantic exploration of British public-school culture through queer eccentricity, frivolity and fanciful excess.” Utilizing the perspective of Brideshead Revisited, Steven offers a modern revision of class-based education. Utilizing his professional background at Alexander McQueen and Tom Ford, he develops “considered and substantial menswear products” by blending archival photos, antique clothing and current accents. Floral regatta headwear, ivory wool sporting coats and exaggerated masculine jackets merge to “emulate the confusion of a systematically ‘homosocial’ culture,” effectively challenging traditional notions of heritage and gender within the fashion landscape.
“I’m somewhat of a punk, so I concluded that working for others isn’t for me,” Jakub Nowacki explains. For this Polish creator, visceral instincts are paramount. While developing his BA range, he allowed raw intuition to lead his process. Jakub begins every outfit through draping, molding forms and testing silhouettes repeatedly until his gut feeling signals completion. His methodology transcends mere clothing, moving abstractly toward fine art. “I appreciate that my creative path is unique,” he remarks. “It obscures the lines between artistry and apparel; I refused to lose that signature or let another's style influence me.” Regarding the runway, he remains grounded despite the noise.
Marina draws from the ritualism of indigenous folk attire to imagine a revolutionary protagonist who “conquers her fate of damsel in distress.” This specific series—titled ‘The Complete Tales of Various Women and Others as Subaltern Natives’—is defined by its sheer whimsy. While addressing weighty themes, the garments remain vivid and boldly patterned, featuring eccentric proportions and shapes. Having trained at Walter Van Beirendonck, Trois Quarts Atelier, plus Peter Pilotto, Richard Malone and Mimi Wade, Marina weaves these diverse influences into her work. Textures and graphics collide chaotically, demanding focus. Peach, star and blossom designs offer playfulness across apparel, and footwear. This collection is never dull.
“It’s a playful take on purity and innocence versus deviant sexuality,” explains BA creator Fennuala Butterfield. Influenced by 1970s kitsch, she utilized sacred Christian vestments, cult cinema and adult media as her inspirations. Her range merges the outlines of classic nun habits with the vibrant colors of vintage cosmetic advertisements. The artist explores erotic duality within her fabrics by layering “sex shop” PVC alongside virgin cotton. Her narrative addresses feminine desire, investigating the depths of the Madonna-whore complex, but primarily celebrating the modern woman’s power to define her own sexual agency and autonomy within a complex, often contradictory social landscape.
