DATE: 23rd February 2025: Place: Mall Galleries TIME 19.00

I: Roger Dean

The London College of Fashion MA 2025 graduate show, held at the Mall Galleries, was defined by a shift toward "fashion as a manifesto," where technical skill served as a vehicle for profound socio-political commentary. The cohort moved beyond mere aesthetics to explore the "unmasking" of societal pressures, with a heavy emphasis on deconstructing masculinity and cultural heritage. Standout collections, such as Dong Hyun Oh’s subversive take on Korean military uniforms and Haru Kim’s graffiti-inspired "POW!" collection, transformed the runway into a space for dialogue on visibility and urban identity. This year’s designers demonstrated a sophisticated grasp of material manipulation, using everything from industrial horsehair to intricate sailor knots to visualize abstract concepts like desire, restraint, and the weight of unspoken words.

The showcase also highlighted the evolution of LCF’s creative identity following its move to the East Bank, blending traditional craftsmanship with avant-garde rebellion. Designers like Yanlin Wu and Rachel Yuyang Wang showcased a high level of intellectual rigor, utilizing labor-intensive techniques to critique the male gaze and reimagine nautical archetypes. Rather than a standard commercial preview, the 2025 show felt like a cohesive push toward a more inclusive and communicative fashion future, prioritizing narrative depth alongside technical mastery. The result was a collection of work that proved the new generation is less interested in following trends and more focused on using garments to challenge the status quo of the global fashion industry.

Dong Hyun Oh: "–. . - -. –" (Morse Code for 'Gay')

One of the most talked-about collections of the night. Oh explored the invisibility of gay men in Korea by deconstructing the ultimate symbols of conformity: school and military uniforms.

• The Look: Structured wool suiting was brutally sliced and juxtaposed with sheer, fluid fabrics.
• The Impact: It served as a defiant visual protest against "effeminophobia" and hyper-masculinity.

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Yanlin Wu: "Beyond the Gaze"

Wu’s work was a rebellious critique of the male gaze and traditional eroticism.

• Technique: She used horsehair and labor-intensive craftsmanship to create "wearable art."
• Vibe: The collection felt like a "nightclub at dawn"—edgy, punk-inspired, and mischievous, with rivets that shimmered like disco lights.

Rachel Yuyang Wang: "A Lover in Marine Uniform"

Inspired by Thomas Mann’s Death in Venice, Wang explored the tension between desire and restraint.

• Key Detail: Intricate sailor knots and nautical archetypes were used to symbolize both bondage and seduction.
• Palette: A sophisticated mix of navy, baby blue, and white that felt both nostalgic and modern.

Haru Kim: "POW!"

Kim’s collection brought the energy of East London’s graffiti culture to the runway.

• Innovation: Kim developed a "fashion language system" where garment construction mirrored English grammar (e.g., jumpsuits acting as "conjunctions" connecting top and bottom).
• The Aesthetic: Bold, 3D padded letters and sculptural elements transformed street art into wearable, eco-friendly menswear.