L’Oréal Professionnel is proud to be principal sponsor for the Central Saint Martins MA Fashion Show.

A stalwart of the backstage fashion arena, having worked for many years supporting emerging and established designers through providing hairdressing talent on the international fashion circuit, L’Oréal Professionnel is delighted to present the L’Oréal Professionnel Creative Award in recognition of design talent for which the winning graduate will receive £5,500 and the opportunity to showcase their collection to hairdressing elite.

To strengthen L'Oréal Professionnel's commitment and dedication to Central Saint Martins' future designers, it has also created the L’Oréal Professionnel Scholarships to be awarded each year to three inspiring MA Fashion students so that they may complete their studies on the course. this partnership serves to cement further the symbiotic relationship between hair and fashion.

Katie Grand @kegrand, Perfect Magazine Founder, Editor & Creative Director is the judge of the L’Oréal Professionnel Creative Award.

At Canada Goose, we endure any condition, observe every detail, and take the long view in order to keep the planet cold and the people on it warm. We are steadfast in our commitment to strengthening our communities and working towards a future for generations to come.

Canada Goose is proud of its relationship with Central Saint Martins and our shared vision for a better future. This year, alongside judges Mira Mikati (Founder & Designer, Mira Mikati) and Juliette Streichenberger (President, CGAG and Europe, Canada Goose), we are honoured to present the second annual Canada Goose HUMANATURE Award for Responsible Design. This award recognizes an approach to design that is original and committed to responsible practices and integrates socio-ecological values.

The award is an integral part of our ongoing partnership with Central Saint Martins, which also supports a first-of-its-kind project with MA Fashion and MA Material Futures to create ground-breaking sustainable and functional innovations, and the annual MA Material Futures Basecamp field trip. Our work with Central Saint Martins represents a powerful opportunity for Canada Goose to support upcoming talent, further innovation in design, and drive purposeful change from a grassroot level.



Recipient of The British Fashion Council Foundation Chanel MA Scholarship


 A phrase my Grandma would say to my sister when she would go out clubbing in the dead of winter in revealing outfits.
Also referring to cold in a more metaphorical sense representing the hostility and British attitudes to immigrants and immigrant culture.

The collection is a conversation between two generations.

For the opening looks, I wanted to be in the mindset of my Grandma migrating from a hot to cold climate and what you in vision in your head to wear to keep warm. Referencing traditional Ghanaian silhouettes such as the Kaba and draped cloth in heavier materials such as leather and wool paired with western outerwear garments.
Towards the end of the collection more skin is revealed. In reference to what was worn by women in the peak of the UK Garage scene created in the generation my sister and older cousins began going clubbing. Coats become accessories showing defiance, a fearless attitude and celebration of cultural identity. 

Supported by Chanel & L'Atelier des Matières

Special thanks to CHANEL , My mentor Amanda Harlech, British Fashion Council, 
Angelica Ellis, and Sophia Laycock

E: joshuakkewusie@gmail.com


Recipient of The British Fashion Council Foundation Chanel MA Scholarship


Take the time to visualize the status of the workers as they move from one place to another. The traditional office environment is undergoing a significant transformation as people increasingly embrace a mobile lifestyle. The collection draws inspiration from these modern nomads, capturing the essence of their journeys and the contemporary workplace, where mobility meets professionalism.

Thanks to: Jingxuan Zhang, Rex Cao, Ken Chen, Sifan Chen

E: kejiaxu0@gmail.com


Recipient of The Alexander McQueen Scholarship 


For sometimes a sound is more easily grasped as a silence, just as a presence, a visible presence, is sometimes more eloquently conveyed by a disappearance.” - John Berger

Portugal, at the beach, in Winter. The sun is shining; it’s cold and misty. An attitude to life which is unironic and unfussy. The archaeology of childhood memories. The comfort and ease of archetypal garments, subverted through pattern cutting and fabrication. The heritage and contrast between handmade crafts and the textile industry in Portugal: locally sourced wool (hand knitted, felted and woven), the organic jersey and cotton shirting. Sun-bleached and faded colours. White, yellow and blue. Life which turns clothing off-white against a freshly painted and stark white wall. Wet swimwear under a warm, oversized hoodie.

E: renas.bras@gmail.com
@ renatoadbras


My work revolves around YUGONOSTALGIA,  which is essentially nostalgia towards Yugoslavia. The absurd notion of feeling nostalgic for something one has never experienced personally. I refer to it as secondhand nostalgia because it arises from the stories of the 'good old times' shared by our parents and grandparents. The aim is to portray Yugonostalgia in an eerie light, acknowledging that much of Yugoslavia's legacy was marred by the 1990s war. 

The materials I use, like Yugoslavian blankets and upholstery fabrics, evoke nostalgia, while also incorporating found objects such as vintage butcher's aprons and embroidered wound-like motifs are juxtaposed to create a sense of brutality. Similarly, a feather motif alludes to the Yugoslavian film by Serbian director Aleksandar Petrović:'I Even Met Happy Gypsies' (1967), symbolizing the reckless behavior that resulted in the military conflicts of the 1990s.

With Thanks to Ivan Delogu for their assistance

E: lovrolukic@gmail.com


Recipient of The Louise Goldin and The Sally Woodward Scholarships

The collection takes as its starting point the INTERROGATION AND QUEERING OF PREPPY FASHION.

Preppiness is conceived as both a conservative aesthetic and as a set of performative gestures played out via actions such as the popping up or buttoning down of a collar. As well as varsity sports, my investigations into ideas of preppiness extend to other masculine arenas including hunting, fast cars, and bourgeois leisure. Preppy fashion is often a rather sexless thing. In reaction to this I have aimed to inject desirability via references including sensuous ‘80s silhouettes and sumptuous Alaïa-esque chenilles, with particular emphasis on the neck as a key erogenous zone. 

Supported by Lineapiù Italia S.p.a. @lineapiu_italia, and Fabric House @fabrichouse_com

With Thanks to Andrew Moss Agencies, Richard Hirst Agencies and Lily Teiger, Diana Sträng, Oliver Roberts, Flint McDonald for their assistance

E: henrihebrard1999@gmail.com


Recipient of The L’Oréal Professionnel Scholarship

My MA collection centres around the concept of a ‘BREAK-THROUGH.’

in particular the idea of a break-through from adolescence into adulthood. The collection carries with it the energy of in-betweenness, a transition from one phase of life to another. During this time of transition, the inner child and the mature self-maintain a back-and-forth dialogue with one another. Like a butterfly breaking out of her cocoon, the collection shows an evolution from protective, cocoon-like shapes to garments which start to unfurl and tear away, giving rise to a self-assured, effortless woman.

Reconnecting with the fearlessness of the inner child, the colour palette and textiles capture the optimistic and uninhibited spirit of child-like play. Looking back on past phases of life, the process of ‘remembering’ has been translated into the treatment of textiles and silhouettes. Memories are only accessible to us in fragments; some details are left blurry or unclear, while others stand out. The collection emerges from a varied palette of tactile materials including foam, felt, fleece and fabrics that were partly destroyed or falling apart. Vibrant, sugary hues are contrasted with faded, muted counterparts - allowing pops of electric, bubble-gum colours to explode atop of fading backdrops. To convey this idea of lingering memories, I experimented with ‘ghostly’ or ‘phantom’ silhouettes where certain garment details are hidden beneath the cloth, leaving a behind a trace or a mere imprint of something that no longer exists.

Styling by Jasmine Nelson, Accessories by Christine Zhou, Millinery by James Rushfirth
With Thanks to Jake Zhang, Soojin Trieu, Sarah Park, Alexis Coverdale, Vincent Meyrick, Nick Sim for their assistance

E: phoebependergast@hotmail.com


Recipient of The British Fashion Council Foundation MA Final Year Scholarship


Today, it is impossible to ignore the harsh reality those from working class backgrounds face. The cost of living, the housing crisis and seemingly never-ending recessions. Having a job seems like a luxury, even if it is one we loath. A fascination of workwear and mundane office life is juxtaposed with the freedom of expression found in BDSM and rave culture. Culminating in a collection that is familiar with us all on its surface, yet beneath the layers lies an eerie world of fetishes and fantasies. 

It’s not for everyone…

Custom footwear collaboration supported by The North Face 

With Thanks to Raoul Aramos at The Face Forge, William Palmer, Bertie Brownhill, Yangziqi Tan

E: jonny952011@hotmail.co.uk


Recipient of The Self-Portrait Scholarship


The collection is about acknowledging vulnerability and sensitivity and finding power through channelling these emotions. I play with the proportions of body parts to create subtle body distortion by examining body parts women around me have often wanted to shift or change. I weave elements of nature, culture, and the human experience into my works as a way of drawing inspiration from the complexity and beauty of the environment I grew up in.   I want the clothing I make to invite the wearer to engage with the world on a deeper level. Respecting and protecting nature in order to build a future where the balance between humanity and nature continues to thrive. 

The connection between femininity and sustainability is profound to me. It is rooted in resilience, empathy, and strength.

E: info@thorastefansdottir.com 


Recipient of The Sir Franklyn & Lady Sharon Wilson Scholarship
Supported by The Bahamas High Commission London,
The Charitable Arts Foundation Bahamas
Dr. Martens 1460 Boot X CSM MA Fashion selected designer collaboration

BEYOND VERBAL COMMUNICATION (meaning somethings can’t be explained and you just had to be there in order to understand)

A Mistress
A Single Mother
A Businesswoman
A Housewife
A Stripper
A Thief

All garments are designed as winter garments, giving representation of said individuals surviving the harsh & cold environments that was their reality. "PHYSICALLY The Bahamas is HOT, but METAPHORICALLY it was “COLD” for these women.”

Custom footwear collaboration supported by Dr. Martens 1460 Boot
With Thanks to Dr. Martens, Ann Braaten for supporting me with fabrics, Olivia Gino for knitwear and Histria Soler for their assistance

E: traiceline@gmail.com


Dr. Martens 1460 Boot X CSM MA Fashion selected designer collaboration

ON THE WAY celebrates the resilience and vitality we all have.  

Avoiding correct ways of wearing
Multiple versions of one piece

Pixelating garment structure
All pattern rectangle
Adapting to different fit

Custom footwear collaboration supported by Dr. Martens 1460 Boot by Yanya Cheng
Thank you to Dr. Martens, Michelle Tan, Xiaona Sun, Danni Zhao, Sheri, Veronica Chang; Yifei Yao; Max; Radina, Stephanie and my family for their assistance

E: chengyanya1@outlook.com



My project is deeply rooted in my personal journey. Despite studying sculpture for five years, my true passion has always been fashion design, a dream at odds with my parents' expectations for me to pursue a career in the arts. This project reflects my complex relationship with the title of "artist" and my journey with sculpture.

Drawing from my experience with sculpture, I've incorporated elements of my clothing inspired by sculpting tools, while the color palette is influenced by the hues of clay. Some silhouettes feature conveying a sense of being bound, while others incorporate shoulder harnesses, symbolize bondage. Delicate lace details express the fragile aspects of my personality, juxtaposed with metal elements to introduce contrast against the soft fabrics. Ultimately, this project is a reflection of myself, as I believe sculpture is an integral part of my life story.

E: lzr847607271@126.com


Recipient of The L’Oréal Professionnel Scholarship
Finalist designer: Dr. Martens 1460 Boot X CSM MA Fashion


A proposal to exist unconstrained with no limits on what is woman and how to be feminine. From the perspective of an Asian American woman suffocated by clashing expectations of Eastern and Western stereotypes, this collection states the coexistence of delicacy and resilience, vulnerability, and aggression. Seeking power in lightness, it challenges the conventional assumptions between the physical expression of femininity and its psychological and behavioral expectations.

Custom footwear supported by Dr Martens.
With Thanks to Dr. Martens, Regina Mun, Sarah Park, Pyper Wong, and Georgia Manning for their assistance

E: info@joycebao.com



The wearer serves as a central inspiration throughout my work. I delve into themes of female agency and identity, drawing from theories of the gaze, representation, and intersectionality to scrutinize the socio-religious constraints placed on the female body.

In my work, I emphasize bias draping with delicate fabrics that drape over the body, evoking soft sculptures inspired by the techniques of Madame Grès and Madeleine Vionnet. The monochrome palette of Man Ray's solarized photographs of Lee Miller deeply influences me, alongside the timeless aesthetics of Peter Lindbergh, and the way in which he represented women.

Delicate satin pieces are juxtaposed with tailored garments, drawing inspiration from 1980s Giorgio Armani menswear and my personal collection of vintage attire. My design approach disrupts conventional polished and ladylike silhouettes by introducing elements such as heavy outerwear, semi-sheer black tailoring, and vintage men's brogues, to birth something new and powerful.

E: miramaktabi@gmail.com


FOR CLARA: This body of work is dedicated to my distant cousin Clara Howell. She, according to family lineage memory and a few photographic documentations, was a butch lesbian born and raised in Reform, Alabama, USA in the 1950s and 60s. Clara has helped me to understand my own gender expression within a larger queer community.

    Based on the few photographic images shared with me via email exchange, I’ve found one of the first and only family connections to my own queerness, especially that of lesbian and gender nonconforming. I aim to put back the rich queer history that's largely forgotten in the rural, agricultural landscapes that are intrinsic to the American South. 

In Derek Jarman’s “Through the Billboard Promised Land Without Ever Stopping” in my own understanding of American culture. I had to leave it and come to England to better understand the contorted layers of empty promises  of corporations. Taking reference, I’m incorporating three companies which I find pivotal to the food system and greater agricultural history of my home country and ones that use nostalgia as a way to promote such conservative, white Christian values. John Deere tractor and Piggly Wiggly grocery store logos are used and slightly changed to have queer, campy puns as a way of using subtle satire as a means of protest. 

John Deere becomes “John Queere” etc, etc, etc. In doing so, I draw connections between the textile exchange of the home and how furthermore masculine, female identity fits within heteronormative ideas of gendered labor roles found  within rural, agricultural based households. 

I cut up second hand tablecloths, bedsheets, and other household linen wares to literally and metaphorically reconfigure into altered proportionally garments that come from Clara’s photographic wardrobe. The sternness and harshness of this uniform is softened, crumpled up and tattered to create contrast to such starkness. 

Doing so, I hope to represent queer identities within the American South as a norm, not an exception. Adding playfulness and humor gendered labor roles within representations of masculine femininity,and challenged associations of butchness with hardness. Power not coming from authority but from vulnerability.

With Thanks to Coles Casting, and Coyle Studios, Uncolour Studios, Linda for the linens and Clara Howell 

E: juliasdotson@gmail.com



I wanted to create a reaction alike to 'I shouldn't go near this person' when seeing those characters. Bringing an almost a cult-like or ‘militarian’ feel to them. There's an approach of declining the way things usually should be done, opposing something and rejecting it. I did this through draping, thinking how a garment is usually worn, disrupting that by giving an immediate response and saying, 'no, I'll turn it inside out upside down and backwards'. There are pieces inspired by an upside down backwards bomber jacket for instance.

I also propose a modern approach to garments by removing excess. No zips, buttons or other unnecessary hardware. Elastic serves as the only means of accessibility.

With Thanks to Petra Fagerstrom for their assistance

E: kaineballard@live.com



Indian countryside has many archaeological sites dwelling with divinity. Through the collection I want to give rebirth to the energy I have experienced during my visits, especially the one to Kakanmath. I am awakening the energy by realizing it in the form of "Art  Addicts ", it is an alternate reality which has always been there for me.

With Thanks to Hiya Bahukhandi for their assistance

E: dhruvbandil@gmail.com


Finalist designer: Dr. Martens 1460 Boot X CSM MA Fashion


The Spanish flair is in all of my looks, from silhouettes to the polka dot; I wanted to pay homage to the Spanish couture tradition and craft. The focus is meant to be in the making; from the structures to the interaction with the body, creating a corsetry illusion playing with padding.

All the materials are responsibly sourced, dead-stock leftovers from fashion houses that produce goods in Spain.

With Thanks to Curtidos Rossini S.L., Loewe Warehouses, PAS Desarrollo Rural S.L.
And Anna Filzmoser @annafilzmoser for their assistance

E: info@alvaromars.eu


Recipient of The British Fashion Council Foundation MA Final Year Scholarship

SONWERÊLD is informed by Afrofuturism & materialised through the lens of agriculture. 

Afrofuturism being a tool that reimagines life at the intersection of minimally modernised African environments, where traditional agriculture practices are preserved, and the digital world with interactive experiences.
I aim to create fashion pieces/products that regenerate the soil and restore the earth's roots.
I grew my own regenerative cotton in Zambia from seed in August 2023 during my summer holidays and harvested on January 1st 2024. 170 plants were grown in my garden backyard which was overseen by my farmer gardener while I was back in London completing my MA course. This regenerative cotton was hand-spun by Lara Lopez and hand crocheted into wearable pieces. 
“For the Sonwêreld collection I used only natural fibres and natural botanical dyes. The fabrics I used were pure hemp, hemp denim, organic cotton, regenerative cotton, regenerative wool and hemp linen, which were all sustainably & ethically sourced with 100% Traceability. For dyes I used natural indigo (w/ alum mordant), Red onions (w/ iron water) & cutch (w/ iron water) on pure hemp and hemp/cotton blends materials . 
The essence of growing my own cotton regeneratively is to attract the youth into practising agriculture through film and a cool ‘girl’ aesthetic which looks appealing to the younger generation seeking to change the world.”

Supported by Contemporary Hempery @Contemporaryhempery for hemp, Alliance  Ginneries Zambia for cotton seed donation.

With Thanks to Fernhill Fibre @fernhillfibre for regenerative wool supply, Alexander @_alexanderzm & Njamu for videography at the Regenerative Cotton Farm in Zambia, Artisan Weavers & Artists in Ghana Kelvin Boateng @africulture_and_design & Mr. Appiah, Regenerative cotton Farmers Mr. Freza and Mr. Banda, Lara Lopez @laralotextiles for regenerative cotton hand-spinning, Ujjal Patel @ujjal.patelll for crochet, Inga Eizinger for Knitwear @i.e_______, CSM Graphic Designers- Marta @_martie_teresa_ & Roshni @roshni_103, With Special Thanks to Khudija Zaib @Khudijazaib) for being an invaluable creative partner in this project,

3D printed ceramic by Lillian Nguyen @lillian.nguyen, Copper in collaboration with Dav Tau @davtaudesign, Footwear In collaboration with DIJÁGO studios @dijago_studios.

E: graceyoa77@gmail.com


Recipient of The Louise Goldin MA Fashion and The L’Oréal Professionnel Scholarship

MY CLOSET is inspired by my everyday outfits documented over five years at Central Saint Martins, my collection embodies a fusion of personal style, fabric combinations, and colours. It's about making gowns wearable for modern street style, blurring the lines between high fashion and everyday wear.

E: paula.mihovilovic.einfalt@gmail.com


Recipient of The LVMH MA Fashion Scholarship
Finalist designer: Dr. Martens 1460 Boot X CSM MA Fashion

MANNA FROM HEAVEN: When something unexpected happens just at the time it was needed. 

In the misty grounds and rundown corridors of a sinister Manor House waiting ground, characters roam awaiting entry to heaven. The collection features a cast of "others', all oppressed by or unacceptable to the gaze of heteronormative patriarchy. Their stay at the Manor House, which for some is eternal, poses questions as to who and what grants entry to 'heaven'.

Made entirely from deadstock materials and with several zero-waste cutting techniques, the collection features an eclectic mix of shredded tweeds, awkward stripes, glitching ginghams and supersized knitwear.

Listen for the bells of The Faustian Footman, the jangle of The Machiavellian Maid's keys or the sweeping hemline of The Faded Film star’s dishevelled gown. Coinciding with a film that champions storytelling and community, I proudly present... "Manor For Heaven'

Supported by Louis Lucano, and Torriano Entertainment Ltd.
Jewellery by James Tapner Evans and Grace Alexander, Knit by Isabel Egan and Cordie Saville Smith, Hats by Cate Sarci
With Thanks to Gabriel Bowden, Reuben Harris, Jocey Andra, Lucie Gonder, Alex Lyons, Jude Braganza for their assistance

E: maxraynor@live.co.uk

We gratefully acknowledge the generosity of everyone who has supported students through sponsored projects and with scholarships and awards: Alexander McQueen – British Fashion Council – The British Fashion Council Foundation - Chloé – Canada Goose – Christopher Kane – Dunhill – Dr. Martens –The Isabella Blow Foundation – The Honourable Daphne Guinness – Louise Goldin – The LVMH – The L’Wren Scott Scholarship – L’Oréal Professionnel Paris – The L’Oréal Professionnel – Ports 1961 – Professor Jane Rapley OBE – Richemont – The Sally Woodward Scholarships – Sarabande: The Lee Alexander McQueen Foundation – Self-Portrait – Simone Rocha – Sir Mick Jagger.

Many thanks to Debbie Lotmore, Melanie Ashley and the MA Fashion academic team: Jane Shepherd, Julie Verhoeven, Louise Gray, Fleet Bigwood, Nasir Mazhar, Nicos Efstathiou, Reba Maybury, Christopher Brown, Sarah Lawrence, Jawara Alleyne, Matthew Needham, Tanveer Ahmed, Angela Farrugia, Professor Alistair O’Neill, Gael Mailhol, Max Ng, Belgin Vehbi  and the studio technical team: Sanae Matsunaga, Anna Chandler, Radina Kraeva, Steve Meah  Koolan Awnie Tatyana Ivanova, Olesja Portsina, Olga Yuzhaninova The knit and print studios: Julia Banks, Denise Lewis, Jessica Sharpe, Laura Baker, Tansy Hamley, Florence Hawkins, June Fish, Rita Kumari, Gemma Windass and Becky Edwards for technical coordination Fashion and Knit.

The Fashion Programme administration team – Claudia Huxtable, David Mansfield, Judy Pilarczyk, Polly Stokes, Jonny Whitwell and Alice Marinelli. Hywel Davis, Programme Director Fashion, Rebecca Wright Dean of Academic Programmes and Rathna Ramanathan Head of College for their support.

Special thanks to the Casting team, Max Kallio with Sara Mousavi, Cael Devers, Fiona Yu, Solenne Palmer, Peace Eyabunoh, Jamilya Kuanysheva, Juderic Braganza, Sarah Park, Peace, Sandra Dipleepm cethe Look book team Stefano Corti, Moud Alkhemeiri, Skylar Warren, Carissa Wong, Lucy Nelson, Karen Gomez and Gustas Butkas.

MA Fashion Course Director: Fabio Piras

Debbie Lotmore and Melanie Ashley

Beauty Creative: Louise Gray 

Clare Hansford at Headmasters UK using L’Oréal Professionnel

: Anna Nwankwo and Charli Avery with LFC Hair and Make-up for Fashion using Morphe

Max Kallio

Ivo Pacheco

Graphics Design:
Scott King

HALO Lighting

Show Production:
DSA Production

CSM Production:
Pippa Brabyn

Seating and Guest communication:
Agency Eleven

Videography and Technical:
Steve Brown with Juan Asencio Garesse

Gonni Kim and Soo Lee

Julie Verhoeven

Catwalk Photography:
Chris Moore

Backstage Photography:
Rosie Tonkin, Sophie Stalder and Hannah Coen

by Prof. Alistair O’Neill

Curators: Moud Alkhemeiri and Stefano Corti

Digital Producer:
Melanie Ashley

Central School of Ballet

Skylar Warren, Carissa Wong, Stefano Corti and Moud Alkhemeiri

Special thanks to Kate Coyne and Leanne King and the performances from Central School of Ballet.
Dr. Martens 1460 Boot X CSM MA Fashion selected designer collaboration.