Designers We Loved From The London College of Contemporary Arts Fest

Scanning every graduate’s collection from their front-row seats, Claudia Limaverde Costa and Isabella Greenaway tell us what the next generation of fashion has to offer.

On Friday night, in the basement of a bustling record store in the heart of Soho, the designs of students at the London College of Contemporary Arts were showcased in a celebration of the college’s achievements in both fashion and graphic design. The show opened with a reminder of LCCA’s focus on bridging industry experience with education, in what they have named ‘edustry’. For many students, this was their first time seeing outfits that they had created on a catwalk. 

Academic Dean of LCCA Lucy London, went on to reiterate the increasingly overlooked importance of so-called ‘soft skills’, and their vitality in the workplace. Indeed, via the show students were able to directly present their work to creative industry professionals, integrating the creative and industry aspects of fashion design.

Externally Internal - Lizzie Molloy

• 

• 

Lizzie Molloy's collection was the first to grace the stage. Externally Internal explored the interplay between inner emotions and outer expression via the vessel of octopuses and squids and the expressive potential of their colour-changing skin. This was perhaps most apparent through the second piece, which conveyed oceanic iconography through the coral-like texture of the lacy top and the mermaid silhouette of the fitted maxi skirt, both in a shimmering sea-blue hue flecked with gold. The dress lends itself to being interpreted as a response to ocean pollution, the collection’s secondary exploration, through the choker alluding to a sense of the ocean being choked by plastic. This emphasis on the environment was furthered by Molloy’s decision to incorporate recycled plastics into her pieces. 

Galaxy Divas - Isabella Nardini

The collection is set within a utopian universe, where the designs are envisioned alongside theatrical stage performances, creating the concept of the ‘cosmic performer’. Nardini merges the extravagance of 70s performance culture with futuristic elements, transforming the traditional stage costume into something distinctly intergalactic, creating a ‘contemporary wardrobe for the ultimate cosmic performer’.

One look features a split halterneck bodice that cinches at the waist with a belt, alongside cut-outs at the sides. The material appears to be a pearly, iridescent, shiny spandex, with underwire at the base of the design to create a sense of otherworldly movement as the look graced the runway. 

Another mock-neck, long-sleeve silhouette look combines the underwire skirt design with a matching headpiece. Unlike the other designs, this look’s material was more matte and pastel, giving it a psychedelic aesthetic.

Through this blurring of the boundaries between performance of body and performance of garment, the collection aimed to explore and celebrate performers as ethereal, codifying influences of science fiction and surrealist landscapes into embodied pieces. The first dress featured a psychedelic marbled pattern where hues of mauve and green flowed into splashes of pink and orange, like water in a sunset. The flow of the pattern evoked a sense of movement or turbulence, enhanced by the autonomy of the skirt’s hem, which was designed to move with the wearer in exaggerated sways. Together, these created a hypnotic design, capturing the all-absorbing essence of performers.

The free-moving silhouette and bright colours contributed to the sense of playfulness, calling to mind dopamine dressing of the early 2020s. The following pieces were less deliberately fantastical in design yet retained the unique silhouettes and bold splashes of colour that seem to be a staple of Nardini’s collection. 

Here, fashion becomes an extension of performance. Through its iridescent materials, psychedelic details and theatrical silhouettes, Nardini creates a wardrobe that feels made for a performer beyond the stars.

Killiecrankie - Sacha John Coull

The show ended with Sacha John Coull’s Killiecrankie, depicting themes of the 1689 battle of the same name. The contrast of friendly, familiar tartan patterns with sinister face coverings made from rust-stained cloth seemed to represent the two sides of the battle: the familiarity of home versus the sinister other. The normality of tartan in juxtaposition with obscured faces created a sense of unsettlement, recreating the historical unease of living through battle. Several of the pieces incorporated feathers in a way that was reminiscent of a bow and arrow, adding to the unsettling iconography. 

The Modern Woman - Seyedeh Zeynab

The Modern Woman, crafted by Seyedeh Zeynab Beshkhor, explores the idea of femininity through fashion. While most designers within the fashion industry prioritise the couture look, often characterised by excessive silhouettes and harsh lines, Beshkhor takes a more understated approach. Drawing inspiration from 90s Calvin Klein, she embraces fresh silhouettes and minimal tailoring, prioritising comfort over avant-garde construction. Her designs celebrate the modern woman through pieces that feel both effortless and considered. Through soft structures, considered detailing and a restrained colour palette, Beshkhor creates a collection where femininity does not need to be exaggerated to be powerful.

Beshkhor also looks to natural forms, taking inspiration from butterfly cocoons to illustrate the innate beauty found within both nature and the feminine form. The cocoon becomes a metaphor for transformation, reflecting the evolution of femininity and the different stages of becoming a woman. 

This is illustrated through a design that embodies the cocooned form, using a harsh, opaque material that cinches at the waist, paired with a satin skirt featuring a high thigh slit. The Modern Woman finds strength in simplicity, comfort and the natural form. 

One look that encapsulates the harmony between modern femininity and 90s minimalism features a two-piece, draped-neckline bodice and a cinched skirt with a high thigh slit, cascading into a chiffon train. 

Another look features a see-through boat-neck T-shirt paired with a simple bralette. The skirt incorporates a two-fold design, with an opaque flap layered over a sheer mesh skirt. 

Ultimately, Beshkhor’s collection proves that femininity does not need to be excessive to make a statement; instead, it can be found in the confidence, comfort and quiet strength of the modern woman.

Dean Lucy London’s opening speech reminded everyone in the room that it is our humanity that makes us integral to the workplace. In her words, ‘students need more than just talent; they need to understand how to present themselves, communicate professionally and approach an industry brief with confidence.’ From reimagining femininity to transporting the audience into otherworldly universes, each collection demonstrated a distinct perspective on what fashion can represent. 

The inspiration behind LCCA’s show rings true to many readers of STRAND, and students of King’s as a whole: a reminder that our traits as people are just as important as our qualifications. 

All Images by Stefan Ciulu, courtesy of Jordan Wake

---

Edited by Simon Nora Dreyfus, Co-Fashion Editor