NO COUNTRY FOR MEN: RECLAIMING THE FRONTIER

Isabella Abohasira’s work is deeply rooted in narrative-driven world-building, using fashion as a vehicle to reframe historical and cultural archetypes through a contemporary lens. Her collection, No Country For Men, draws on Western cinema to imagine the frontier as a space reclaimed by women. Set in the late 1800s, it follows a posse of outlaw women forging autonomy on their own terms. Silhouettes reference saddlery, traditional menswear, drapery, and late Victorian dress. Materials remain grounded in the period—wools, denim, fur-on cowhide, embossed and vegetable-tanned leathers, alongside rabbit and reindeer fur—whilst the construction introduces a more contemporary edge. As she enters the industry, Abohasira is both critical and cautiously optimistic. She points to the persistent male dominance underpinning fashion’s canon, despite its outward focus on womenswear, as a structural imbalance that continues to shape opportunity. At the same time, she perceives a broader shift toward healthier, less toxic working environments, hoping to contribute to a future that prioritises genuine equity and creative integrity.

SABIĦ MÁTI: ANCIENT CRAFT, FUTURE STRUCTURE.

Maxwell Honeycutt’s collection, Sabiħ Máti ("The Beautiful Eye"), functions as a creative excavation of Mediterranean craft—reimagining lace-making, macramé, and mosaic not as static relics, but as evolving forms. Eschewing simple preservation for true metamorphosis, Honeycutt integrates experimental materials, 3D printing, and laser cutting with fossil-like textures born of memory. The result is a structural translation of heritage that feels at once ancient and extraterrestrial. Rooted in a lineage that equates longevity with meaning, the collection treats inheritance as a living, breathing substance. Sabiħ Máti stands as both a protective gaze from the past and a radical new lens for the future.

Post-graduation, Honeycutt’s trajectory points toward the world of couture. He is captivated by the discipline and the profound commitment to beauty as a labor-intensive pursuit. While the modern world accelerates toward total automation, Honeycutt views the scarcity of hand-driven precision as a vocational calling. He seeks a place within a fashion house that still views the act of making as a sacred ritual and precision as a deliberate, intentional act.

HARBORLANDS: NAVIGATING HERITAGE FROM CANAL TO COAST

Harborlands, a men’s ready-to-wear accessories collection by Hayden Brice, exists in the space between London’s canal boat culture and the rugged landscapes of Northern Michigan. By drawing on nautical details and classic American heritage silhouettes, the work reflects a waterside lifestyle defined by utility and traditional craftsmanship. The collection focuses on translating familiar forms through specific materials and textures that bridge these two distinct environments. As he enters the industry as a leather goods design apprentice, Brice is curious about the impending shift in his creative process. Having managed every singular stage of development during his university studies, he is now considering how a more defined, professional role will shape his input. He is particularly interested in exploring the boundary where his personal design vision ends and where the collaborative manufacturing process begins within a larger, industrial system. This transition marks a pivotal evolution from solo artisan to a disciplined contributor within the broader world of high-end accessories and heritage-driven design.

THE ART OF UNMASKING: PERFORMANCE AND PRIVACY

Emma Wisler’s collection, Who Are You When You’re Not Performing?, explores the quiet labour of self-concealment—the way individuals strategically suppress personality traits to conform to societal standards. The garments build outward from this tension, utilising outer structures that simultaneously exaggerate and obscure the form. Strategically placed glimpses of the wearer underneath act as vulnerable moments where the guard finally falls. This collection is designed for anyone who has ever hidden behind a heightened version of themselves. Leaving education, Wisler is drawn to the intersection of couture and ballet, seeking to create clothing that prioritises movement and expression as much as construction. She aspires to craft tutus and pieces that allow the body to be fully expressive within their structure. Her primary concern entering the industry is practical: the shortage of genuine entry-level opportunities for new graduates. She believes that more learning-focused roles would open vital doors, allowing the next generation of designers to flourish within a supportive and educational professional environment.

ROUND 2: WHERE ATHLETICISM MEETS INTIMACY

The practice of Ryan Putnam—working under the brand name PTMN—sits at the intersection of identity, image, and cultural reference, translating personal and regional influences into a contemporary fashion language. Their graduate collection, Round 2, explores the provocative crossover between sex and sport. Drawing on a diverse range of icons, from Pamela Anderson’s tenure in Baywatch to Princess Diana’s off-duty leisurewear, the work expertly combines unconventional sportswear codes with delicate lingerie materials. As they enter the industry, Putnam expresses both ambition and concern. They cite labels such as Carhartt, Eckhaus Latta, Marc Jacobs, Lacoste, and Sacai as key inspirations, particularly regarding silhouette, colour, and construction. However, they remain wary of the barriers facing emerging designers, especially the hyper-competitive job market and the reliance on unpaid internships. Putnam believes these hurdles limit access for those unable to relocate or work without pay. Despite these challenges, they remain committed to contributing to the industry, emphasising the vital importance of new perspectives in sustaining its long-term evolution.