Fashion's Next Generation: Inside Cambridge School of Visual & Performing Arts Graduate Fashion Week Success

Safiya Shakirova's Graduate Collection - courtesy of Chris Roberts

The future of fashion is often discussed through the lens of uncertainty. From economic pressures and sustainability challenges to the looming threat of AI,  questions continue to be raised about what lies ahead for the industry. Yet at Graduate Fashion Week 2026, one thing is clear: the next generation of designers is bringing fresh ideas, cultural depth and creative optimism to fashion's future. The Cambridge School of Visual & Performing Arts (CSVPA), part of CATS Global Schools, has reason to celebrate this year, with eight students shortlisted for an impressive 14 awards across 12 categories at one of the industry's most respected showcases for emerging talent. Their success reflects not only exceptional technical ability, but also a willingness to challenge convention, tell meaningful stories and draw inspiration from their own identities and experiences. From Rebecca Ogunribido's exploration of Yoruba heritage and Safiya Shakirova's tribute to the strength and traditions of Kazakh women to Ching Wa (Raven) Yau's celebration of Hong Kong's Yum Cha culture, the nominated collections showcase fashion's unique ability to tell stories, preserve cultural identity and spark meaningful conversations. As they prepare to showcase their work on one of fashion's biggest student stages, Here, the graduates share their inspirations behind their collections, their ambitions for the future, and the role CSVPA has played in helping them develop their distinctive creative voices.

Tell us a bit about yourself. Where are you from? What’s your background, and how did you develop your passion for fashion?

Rebecca: I was inspired by Barbie, my favourite doll, which sparked my early interest in fashion. Through my love for Barbie's style, I developed a strong sense of fashion and dreamed of making it my career. In secondary school, I created inspiring sketches, and my dad encouraged me to build a website for my brand, which I named ‘Rebex For Girls' Fashion. The domain was rfgfashion.com, but unfortunately, we lost it after five years because my dad was too busy to renew it, and it was resold at a high price. That experience was heartbreaking but reinforced my passion. My artistic talent was evident from around age two, as I was always drawing and sketching. My dad, a journalist from Nigeria, recognised my potential and encouraged me, even suggesting I might become an architect. My mum, a nurse at University College London Hospital, supported my dream of attending a top fashion university, which I was fortunate to realise.

Safiya: I realised that I wanted to be a fashion designer when I was seven. So, it started with different fabrics, and I was dressing up my younger sister and doing fashion shows for my parents. My decision was very early to become a fashion designer, and I am a painter as well so I am an artistic person from an early age.

Raven: I love art, but I was confused about which part of the arts I can do. So, I decided to do fashion when I sat with my mum and watched a John Galliano fashion show from 1997, and he used some Chinese qipao silhouettes mixed with vibrant colours and I was so obsessed. I said to my mother, “I want to do that”. So, my mother started applying to some drawing, painting and fashion design courses for me so I can develop my own style and identity.

Ching Wa (Raven) Yau's Graduate Collection

Could you tell us a bit about the category you have been nominated for in GFW 2026, and what the entry process involved?

Rebecca: I was nominated for the Cultural Heritage Award. It was exciting to be among the top three in this category and one of 20 finalists overall

Safiya: I have been nominated for the Cultural Heritage Award

Raven: I have been nominated for the Digital Fashion Award, Pattern Cutting Award, Considered Fashion Award, Fashion Portfolio Award and Fashion Innovation Award.

What inspired your collection for the Graduate Fashion Week Collection show?

Rebecca: My collection is deeply inspired by Yoruba culture and religion, particularly the Orishas. Orishas are iconic deities in Yoruba tradition, each representing different aspects of life, culture, music, and fashion. For example, my Orisha is Obatala, the god of wisdom, who wears majestic white garments. Other Orishas include Sango, the god of fire in red, Yemoja, the goddess of the ocean in blue, and Oya, the god of wind and transformation in purple.  These cultural symbols reflect sophistication, elegance, and pride. The Bata Dance, a traditional Yoruba dance, inspired me as well, likened to European ballet but with a powerful Afro-European fusion message. I aim to elevate Yoruba fashion to global recognition, similar to how Yoruba music influences the world, through artists like ASAKE and DAVIDO.

Safiya: My inspiration came from my country, my culture and my family. It started when I was very young in Kazakhstan, in kindergarten or school for performance we used to wear Kazakh costumes and for different events like New Year, birthdays. So my concept is coming from Kazakh women, because Kazakh women are very brave and I wanted to show brave Kazakh women who are free and I wanted to show the powerfulness of women overall. So, I mixed carpets, carpets is a metaphor for home. In Kazakhstan we usually have carpets on the wall as a decoration so I decided to make different garments out of carpet to show women are not only decoration or home, she is also a warrior, she is brave, she is strong.

Raven: In this collection, I was been inspired by Yum Cha from Hong Kong. I feel like everyone in the same community should be happy and sharing about their own culture. So, in my collection, I am using this method. I feel I should have the responsibility to exposure my culture. Yum Cha, it’s quite like a British high tea; it surrounds every single Hong Kong person. It’s in our DNA. We celebrate a baby’s birth with Yum Cha, we celebrate with different festivals, family gatherings, or even weddings and funerals. I’m using dumping silhouette as a foundation for designing my whole collection. It reminds people the importance of Yum Cha and culture and other people’s culture. In this collection, I used second-hand table cloths, coconut fibre or even hay to recreate some fried texture. I was inspired by Alexander McQueen, the way he used different types of materials like wood and metal. That is what I crave for, which is crazy, I love the craziness.

Safiya Shakirova's Graduate Collection

Who put you forward for your award category, and how did CSVPA support you?

Rebecca: My university nominated me and provided tremendous support. They helped me discover my strengths and potential, particularly through my mentor, Holly, who pushed me to work harder and achieve high standards. Without her guidance, I wouldn't have done so well in GFW (Graduate Fashion Week).

What do you hope taking part in the collective show will lead to, and what are your longer-term career goals?

Rebecca: Participating in the Catwalk was thrilling and provided valuable exposure and networking opportunities with industry professionals. It inspired me by showcasing diverse collections and challenges. This was my first major catwalk experience, and I hope for many more. It has been an excellent foundation for my fashion career.

Safiya: After I graduate, I want to apply to internships because I think having experience with different brands is very important. But the main brand I want to apply to is Alexander McQueen. I really want to have my own brand, and I want to use fashion as a message to people; it is not only about making garments for me, I want to use it to show my view of this world and to explore important topics. I want to create something that matters.

Raven: Throughout the first year, second year, third year I found what I’m really good at and my talent, which is digital or even something sculptural. I’m really obsessed with haute couture, so in my future I definitely want to work with some haute couture brand such as Schiaparelli. I really like the way they work with some unconventional materials like actual feathers, the colour combinations, and the contrast between the texture, the colour and the silhouette. In my way, I’d like to explore more unconventional material and work with a haute couture brand in the future. But right now, I will apply for an MA for my future, so I will have more experience.

How has CSVPA enabled or supported your education and career goals so far? For example, how have your tutors helped you develop your practice?

Rebecca: Cambridge School of Visual & Performing Arts has been instrumental in my journey. Learning the basics of sewing took time, but my teachers' patience and encouragement helped me become independent in sewing. They continuously pushed my creativity and prevented me from becoming complacent, which led to my beautiful collections. I am deeply thankful for their support.

Raven: At CSVPA, I also learned the importance of asking other people about their opinions. They always give good advice on how you can change your style or even how you represent your garments. I also learnt from my tutor Tiina that you always push yourself hard. Don’t be scared, document everything, enjoy it. If you don’t push yourself, you never know where the limit is.

How has learning alongside students from around the world affected your creative perspective?

Rebecca: Studying with students from various countries has broadened my understanding of fabrics and cultural inspirations. Many classmates draw on their cultural backgrounds for creativity, which reminded me of the importance of valuing and embracing one's heritage, inspiring me to cherish my Yoruba culture even more.

Safiya: It is really interesting to explore and understand more about different cultures.

Rebecca Ogunribido's Graduate Collection

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STRAND also had the opportunity to speak to Professor Karin Askham, Rector at CVSPA

When you look at a young designer’s work, what tells you they have potential?

Technical ability is important, but it is rarely the deciding factor. The students who stand out are often those who are willing to experiment, embrace uncertainty and learn through failure. Fashion is an iterative discipline, and resilience is just as valuable as creativity. Ultimately, I look for authenticity. In an increasingly crowded visual landscape, originality comes from understanding your own perspective rather than trying to emulate someone else’s success.

What advice do you give to students who are trying to make the transition between education and working in the fashion industry?

My advice is to remain open to opportunities that may not fit your original career plan. Some of the most rewarding careers develop through unexpected collaborations and interdisciplinary experiences. Equally important is understanding that your network is something you build over time. Engage with industry, seek feedback, participate in competitions, attend events and remain curious about people working across the wider creative economy. Professional relationships are built through generosity, reliability and a willingness to contribute, not simply through self-promotion.

The fashion industry often speaks about nurturing new talent, but access remains uneven. What more needs to be done to support working-class designers and students who may not have existing industry networks?

Talent is distributed widely, but opportunity is not. If we genuinely want a more innovative and representative fashion industry, then widening access cannot remain an aspiration; it must become part of how institutions and businesses operate. That means creating paid internships rather than expecting unpaid labour, investing in meaningful mentoring programmes, building stronger partnerships between education and industry and ensuring recruitment practices value potential alongside experience. Financial barriers continue to prevent many talented students from participating fully in opportunities that others may take for granted. Universities also have an important responsibility to act as connectors, creating environments where students can access industry networks, professional practice and collaborative projects regardless of their background. Diversity of experience strengthens creativity, and the industry benefits when a wider range of voices is able to contribute.

What are the biggest challenges facing emerging designers today, from AI to sustainability and accessibility, and what do you think the fashion industry needs to do to combat them?

Designers must understand materials, technology, ethics, supply chains and consumer behaviour alongside aesthetics. AI, for example, should be understood as a creative tool rather than a replacement for creativity itself. Human judgment, cultural understanding and critical thinking remain irreplaceable. Similarly, sustainability cannot simply be addressed through material choices; it requires reconsidering how products are designed, manufactured, consumed and valued throughout their lifecycle. The industry’s responsibility is to provide emerging designers with the knowledge, resources and collaborative environments that allow them to innovate responsibly rather than expecting individuals to solve systemic challenges alone.

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All Images by Chris Roberts, courtesy of Ambitious PR