All pictures taken by Ian Morris unless otherwise stated

Jessica Beavis, Nottingham Trent

The movement and essence of water has been captured through the use of experimentation with paints and photographs.  Innovation has been brought to this fabric collection by the process of digitally transforming these 3D forms onto fabric. I have produced a collection of silk fabric designs in which textural marks and brushstroke qualities enhance a bespoke and exclusive appeal to my collection.

Rosie Benjamin, UCA Rochester

The main inspiration for my final collection was Alzheimer’s disease. Alzheimer’s takes over the brain and body, leaving it in a state of confused, mixed emotions and illusions. From this, I wanted to create the same effect through the clothing. The aim was to create a collection that explored mixtures of fabrics that would not necessarily normally be used together. This helped create a 3-Dimensional effect, creating an illusion within each garments. I hope to explore these ideas further through future collections and design ideas.

A Revised sense of tradition, nostalgia and culture will see craftsmanship as an integrated part of design.

Inspired by the deconstruction of a Tailcoat, design was informed by the new raw materials, cut, stitch details and finishing techniques, to the hidden structures found inside the coat vital to support the outer shell. The body of traditional hand work to compose the garment brought to the forefront for contemporary design

Alice Early - Winning Designer

Alice Early announced as the winner

Lord Sassoon congratulating Alice

Andreas Congratulating Alice

Victoria Eskdale, Manchester Metropolitan University

My work clearly expresses my inner determination, ambition and mature professional approach to succeed within the fashion industry; with completed modules in garment technology, technologies for specific garment development and design.  All areas are covered allowing me to highlight  my creative ‘fashion’ flare and technology knowledge, the outcome of work is aesthetically pleasing, stylistically written to a brief and commercial.

The collection represents mans connection to the wild and the increasing influence that nature is having on urban life.

The aim was to create an outdoors-inspired range with a ‘new heritage’ feel that encompasses both traditional rural aesthetics and modern urban details whilst highlighting the playful nature of today’s fashion consumer.

The concept and process of Body Scanning technology and sculptural practices, such as mould making and origami were employed to replicate the shapes of wild animals and investigate new ways of garment construction.

Sacha Foster, Manchester Metropolitan University

The print collection focuses on the transition of light, using gradients to illustrate suggested form and structure within the context of the Body. Constructivism and Architecture have been the main inspiration for my collection, concentrating on their desire to animate shape or forms through using the play of light and perspective.

Jenny Gibson, Royal College of Art

The starting point for this collection was to look at lines and contours within architecture and product design. I was also keen to explore how texture and tone could be achieved by simply using the colour black. Materials for this collection ranged from Perspex, wood and leather and I enjoyed the creative challenge that these represented.

My influences for this collection vary and range from the work of Serge Lutens through to the mechanisms of Venetian blinds, the layout of contour maps as well as Japanese architecture and design.

Zara Gorman, Royal College of Art

Zara Gorman's Design, Royal College of Art

The inspiration behind my concept has been taken from photographer Andre Kertesz. His series of  ‘Distortion’ photographs portraying reflections of the nude female silhouette in distorted, ‘fun house’, mirrors has lead me onto an exploratory path of deformity of the silhouette. Through a number of experiments I have tried to develop his ideas as well as test his own as my foundation influence. Expanding on a number of ideas and experiments of distortion I kept in mind my initial aim: to produce a collection that is sculpted on a distorted body and drapes when placed onto a proportional silhouette. The distorted garments reflect this concept through the contrast of draped, fluid shapes and fitted panels. Distortion was developed further through the use of digital printing on woven and stretch fabrics. The print designs were created from slow exposure photographs of body parts and the movement of fabric. The collection aims to portray a mood of serenity and slight awkwardness.

Carla Grima, UCA Rochester

My collection is inspired by an amalgamation of traditional Russian ethnic culture with modern asian, and European culture, creating an eclectic collection of dramatic colours   vivivd mix of neon blue, pink, and orange contrasts against the heavily embroidered garments, and interesting silhouettes.

I have also created a range of modern accessories, to reflect the heavily decorated adornments used in ethnic traditional ceremonial occasions.

Ryo Himuro, London College of Fashion

Ryo Himuro's Designs

The Inspiration for my final collection came from my Grandfathers original airbrushed artwork of cars he designed when he was a car stylist for Ford Motor Company in America during the 1950s.

My Grandfather was a perfectionist with a passion for cars. I too am a perfectionist and my passion is beautiful clothing. I was so impressed with my Grandfathers style and quality of artwork I enhanced his drawings and developed these to create unique fabric prints

Alice-Jane Hutton, De Montort Univeristy1

Alice-Jane Hutton, De Montort Univeristy

My inspiration came from my identity, in particular what makes my identity. Exploring my Heritage, family and traditional aspects of Indian culture, exploring Indian wear. Looking at my family, in particular my father, using metal washers that are mainly used in his job.

To use these as a feature, creating intricate embellished pieces within the collection. I designed simple silhouettes allowing the fabric to create its own movement, using an elegant colour palette where I created tonal effects with spray paint to each washer. Indian clothing is known for its colourfulness and grace, I designed a collection that went against this to give the collection a more contemporary, modern feel.

Karrenjit Kaur, Nottingham Trent

Inspired by a beautiful Italian book based on 20^th Century Circus and Funfairs, I experimented with different medias and fabrics, which allowed to me to capture the colourful and playful essence of the circus.

My strong graphic prints are based on two circus-advertising posters that encapsulate an interesting pool of colours and shapes. Using the inspiration and concept of plastic Carousel horses; I produced acrylic body piece accessories to make my prints appear 3D, creating an interesting visual illusion.

Maria Lazari - De Montfort catologue - Fabrice Lachant

Maria Lazari - catwalking.com - Christopher Moore

My work focuses on the fusion of traditional tapestry weaving with advanced materials to create innovative 3D hand woven warps. I have created furniture concepts for interior or exterior spaces.

The tapestry industry craves a fresh interpretation of the technique that can stand up against digitally woven textiles. My aim is to breathe life back into tapestry weaving to emerging designers and introduce new technologies with traditional hand weaving to create beautiful, multi-functional tapestries that could prolong the existence of this declining craft.

Chloe Mccormick, University of the Arts London

Chloe Mccormick, University of the Arts London2

I am a fashion textiles designer specialising in print, both screen and digital.  I also work in knitwear, utilising print and intarsia to apply pattern.  I have also  used embroidery with hand made yarns and appliqué using leather.  I combine many of these techniques in single garments to give the effect of collage, contrasting knit against hand drawn digitals, graphic screen prints and hand painted block colour prints. The paintbox prints and bold Constructivist shapes combine to convey a folklore inspired dreamscape designed to impart the wearer with joy.

Nathalie Murray, Northumbria University

“frozen moment of the object’s creation and destruction process.”

Naoya’s collection of womenswear is inspired by 3D image artworks called “Frion Estudio del Desastre (by Los Canpiteros 2005)” and the theme of small images coming together to create something wholly different.

Naoya fuses traditional materials with contemporary methods of design, his first collection consists of traditional tailored garments with dramatic razored edges giving the garments different looks from different perspectives.

The use of traditional materials such as silk and jersey in soft shades of beige are contrasted with the vibrant gold of the thermal, ‘space’ blanket material which is prevalent throughout his collection.

Naoya Nakayama, London College of Fashion

‘Stratagem’ is a unique, innovative menswear brand that’s purpose is to challenge CCTV and our surveillance society through invisibility and camouflage techniques. Anyone who wears a Stratagem piece will be making a statement about our society, government and issues surrounding CCTV and surveillance.

Moiré patterns are commonly seen on television screens directly when a person is wearing a shirt or jacket of a particular weave or pattern, such as a hound’s-tooth jacket. As the person moves about, the Moiré pattern is quite noticeable. Because of this, newscasters and other professionals who appear on TV regularly are instructed to avoid clothing, which could cause the moiré effect, more commonly known as ‘strobing’. Using colours and patterns that you would typically avoid wearing on TV will be perfect for trying to disrupt and confuse your image on a surveillance monitor.

Luke Richardson, Northumbria University

Luke Richardson's design

The collection draws inspiration and elements from the multiple layers of Indias vibrant culture that continuously create colourful, vivid and eclectic experiences for the onlooker. The colours are picked from traditional paintings of Indian Gods, and recreated through natural methods of dyeing. In its essence this collection is a reflection of the Indian lifestyle of re-interpretation of materials and their function at every step, always re-using and recycling, creating heirlooms that are passed down through generations.

Each garment is made with beauty, simplicity and versatility  its core which lends it a multi layered and personality driven charm.

The designs combine a fusion of two extremes, making the collection experimental and unconventional, while being hinged on modern functionality.

Karishma Shahani, London College of Fashion

My collection is an experiment with pleats and folds on different materials such as leather, polyester and silk jersey. It is creation of contrasting panels of texture and colour. These panels remind me of Lego and I used colourful zips to link them to create a patchwork of odd combinations. I used the concept of Lego bricks that build a bigger shape and so my patchwork of separate panels ‘zip’ together to build a whole garment and conversely can be unzipped and dismantled by the wearer, who can even zipp on smaller panels of stripped mohair knit to add textural contrast with these engineered pieces. There is sense of playfulness that comes from amending the clothes. The silhouettes are as the Tin Man from Wizard of Oz with his rigid barrel shaped body. The horizontally placed pleated fabrics exaggerate the frame and movement, collapsing and bouncing as the wearer moves.

Martina Spetlova, Central St Martins

“My graduate collection consists of original illustrations, creating prints that explore the sweet and sinister, with a vintage feel for silhouette and 1920′s seam lines.

Currently Interning at Mary Katrantzou looking for a design job in Womenswear or print design in the London area

Amy Tydeman, Nottingham Trent

The collection is inspired by the working-class people against the backdrop of Industrial Revolution. It is an attempt to reconcile the huge contrast between the proletariat and the bourgeoisie by combining the rough-looking feel with elegant details and unusually pattern cutting. As the starting point of the collection is Steam & Smoke from the factories. The collection aims to create the romantic feeling by using a lot of drape and soft colours.

Yitang Wan, Central St Martins