A particularly striking was the work of Ayham Hassan, a student of Ramallah on the Western Jordan bank who produced his way to Central Saint Martins Crowded and a powerful collection that showed the amazing beauty of Palestinian vessel and went back to traditional traditions of which the roots by conflicts. (Hassan described the collection as “a contemplation about the reality of genocide and the search for liberation”; it mainly felt resonant given the groups of students who protested for Palestine outside the show location.) There were metallic, armored triangles that offer a form of spiritual protection, an extraordinary piece for the village of the village. Geometric spots of historically woven patterns from the region with layers of distressed organza; In the meantime, a huge length of textile in gray and magenta, carried here like a floor -wiping headscarf, was actually knitted by Hassan’s own mother. “My mother can’t make it today because she is on the West Bank,” he said for the show. “So with this it feels like she’s here.”
The top three prizes of the evening, which were judged by Burberry’s Daniel Lee-Die in the front row were on the show, with his foot to the Madcap-Pick-and-mix of musical soundtracks selected by the Studenten-Gings all to worthy winners. The second place was Haseb Hassan, a British-Pakistani designer whose advanced designs were impressive. Inspiration from sources that include everything, from draping Madame Grès to Vintage Pakistani stamps, he distilled them confidently in a collection that married a graphic impact with exceptional craftsmanship: his riff on a South Asia Shalwar KameezHere cut from a dusty blue leather and decorated with Arabian calligraphy, was a highlight, just like a slot look in a draping, pleated white fabric with abstracted green motifs that the Pakistani flag scales. “What was the most important thing for me was collaboration,” Hassan said after the show, and noticed that he worked with artisans in Pakistan to produce the shoes, hooks prayer caps and woven Tassel tractors. “It was a way to honor their profession and to ensure that the collection remained based in where I come from.”
The first place went to Hannah Smith, whose thoughtful approach to adaptive fashion was exhibited in a collection that has taken inspiration by the Curlicue details about wrought iron gates to make pieces that “use the wheelchair as an assets or a smooth expansion of the body,” she said for the show. Her technical experiments were just as striking, cutting leather into knotted ribbons that drove behind the models with a spring light convenience, or cutting and draping a traditional woolen tailor at the back of a wheelchair to form an elegant train.