W:Maximiliano Dubois I: Rebecca Maynes

The Central Saint Martins BA Fashion Show 2025 was a high-energy "creative detonation," characterized by a strong trend of designers returning to their roots—childhood memories, regional identities, and personal queer narratives—to anchor their work in an increasingly digital world.

The 2025 cohort proved that CSM remains the epicenter of "wearable defiance." While Myah Hasbany took home the L’Oréal Professionnel Young Talent Award for her UFO-inspired collection, the designers listed above were the ones who provided the emotional and technical heartbeat of the runway.

ASBO favourite Matthew Davide Andrews was the walk away star at this years CSM show – the new enfant terrible of British fashion is like a tsunamis wiping out all before him and leaving a trail of fresh new ideas and originality, that the London Fashion scene desperately needs.

Matthew David Andrews

The Collection: The Venice of Essex Andrews delivered arguably the most theatrical "viral moment" of the show. Inspired by a 1958 flood in his hometown of Wickford, he used the disaster as a metaphor for the experience of growing up queer—the feeling of "drowning" while hiding one's true self.

• The Spectacle: Models wore sculptural hats equipped with hidden tubes that began to "rain" water down their outfits halfway through the runway.
• The Innovation: The garments featured water-soluble textiles that dissolved upon contact with the water, tearing away to reveal hidden colors, prints, and intricate embroideries underneath. It was a literal "unveiling" of the designer’s identity.

Lucas Libby

The Collection: SATOR Libby’s work was a romantic and rustic homage to his childhood in rural Provence. He sought to challenge "commercialized queer aesthetics" by proposing a nature-rooted, inclusive utopia.

• Key Elements: The collection repurposed agricultural attire into refined silhouettes. Standout pieces included an ankle-length skirt made entirely of straw and wheat, paired with crochet vests and "gigantic" hats with built-in visors.
• Vibe: A sophisticated blend of French campagne (countryside) heritage and avant-garde menswear

Rufus Seagrim

The Collection: Graphic Belongings Seagrim explored the relationship between people and the objects they collect, translating domestic organization into high fashion.

• Key Elements: He interpreted the world through a graphic lens—bookshelves became checkerboard patterns and books turned into stripes.
• Standout Piece: The "Magazine Shelf" look, a structured garment that directly referenced methods of storage and display, using a mix of rigid architectural fabrics and soft, fluid textiles.

Luke Hemingway

The Collection: Dream Ceremony Hemingway’s collection felt like a "declaration of independence in a post-apocalyptic bedroom." It focused on the collapse of subcultures and Northern identity, specifically looking at the "lads" caught between everyday mundanity and ceremonial performance.

• Key Elements: Cloud-washed leggings paired with multicolored, pillowy jackets. The garments featured "goggle-shaped" decorations and pom-pom drawstrings.
• Symbolism: He famously sent a model down the runway with a teddy bear accessory, serving as a poignant reminder of childhood innocence protected by "armor."

Marie Schulze

The Collection: Untitled (Office Dominance) Schulze drew on her experience working in the German Parliament, fascinated by how women used "improper" or "eerie" hyper-tailored suits to command power in male-dominated spaces.

• Key Elements: The collection featured deconstructed office wear in unexpected palettes of dazzling pinks and deep teals.
• Tailoring: She played with proportions, using ruffled collars, button-down shirts, and purposefully oversized trousers to create a look of "quiet dominance" and "disruption."

Zainab Mansary

The Collection: His Reflection is Blue A Daphne Guinness scholar, Mansary delivered a collection that functioned as a "streetwear-first love letter" to her Sierra Leonean heritage. It was praised for its balance of high-concept storytelling and actual wearability.

• The Concept: The collection explored the legacy of her parents' migration to South London in the '90s. Specifically, she focused on Black men’s mental health and the idea of "disguise" through clothing.
• Key Elements: Mansary used cyanotype printing (a photographic process producing deep blue hues) to transpose family photos onto tailored suits.
• The Aesthetic: Heavy on oversized 90s-style puffer jackets, loose threads coiling around trousers, and "I love Sierra Leone" slogans. It felt like a refined, high-fashion version of a family photo album.

Timisola Shasanya

The Collection: Displaced Contexts Shasanya’s menswear was a "soft-sculptural" exploration of his personal migration journey through Ireland, Nigeria (Lagos and Kano), and the UK.

• The Materials: This was a masterclass in global sourcing. He utilized indigo-dyed fabrics from Kano, leather handmade in northern Nigeria, and donated wax cotton from Barbour.
• Innovation: He incorporated "found objects" from his home life into the structure of the garments, including metalwork and even broom bristles, to represent the textures of his upbringing.
• Vibe: Sophisticated and grounded. The collection moved away from "stunt" fashion toward garments that felt like "vessels for memory."

Sam Fisher

The Collection: No Drink On The Dancefloor Fisher brought an explosive energy to the runway, drawing from his background in contemporary dance and his love for Northern Soul club culture.

• The Movement: The clothes were designed to react to the body in motion. Models didn't just walk; they performed, utilizing the lightweight chiffon and fluid textures to capture wind on the catwalk.
• The "Frozen" Contrast: In a clever technical twist, some pieces were treated with wax and plaster to "freeze" them in mid-motion, creating the illusion of a static dance move.
• Key Details: Look for the "chalk-dusted" tailoring and stained hems—a direct reference to the talcum powder used on Northern Soul dance floors to help dancers slide.