This project started with the generous donation of dead-stock fabrics from Burberry to a number of British Fashion Council member Universities, to support the students and encourage sustainable practices.
As the original Burberry Factory is located on Jewry Street in Winchester, currently housing the Winchester Churches Nighshelter (a local homeless charity) WSA BA Fashion Design and the Winchester Churches Nighshelter came together to raise awareness of the charity through the creative sustainable design work of 2nd and 3rd year Fashion Design students showcased at the WSA Gallery during Winchester Fashion Week 2021.
The shoot on location at the Winchester Churches Nightshelter, stitches the project together through time and place. The hair and make-up was created using environmentally considerate products and materials, incorporating a future focused approach aligned with the vision of the WSA BA Fashion Design Programme.
We would like to thank Burberry, the British Fashion Council, Sarah Davies and Winchester Fashion Week, Nancy Judge and the Winchester Churches Nighshelter, the student designers, the student assistants, the staff, models, photographer and hair and make-up artists that made this exhibition possible!
This year WSA (Winchester School of Art, University of Southampton) ran its own FASHION WEEK alongside Winchester Fashion Week to great success.
The event schedule included a host of activities including exhibitions, talks, fashion films, five fashion workshops and two fashion shows. There were two fashion pop-up shops; one on campus on Park Avenue Winchester, which sold vintage clothing and products designed and made by our very own fashion students. The other based at the Visitor Information Centre on the High St Winchester selling reworked garments from Salvation Army clothing donations as part of a year two fashion design project, ‘Future you / Future Fashion’ in collaboration with the charity. All sale proceeds went straight back to the Salvation Army.
Two exhibitions ran through the week. ‘ReBurberry’ featured designs made from donations of left-over Burberry fabric offered to the school through the British Fashion Council all of which helped to promote the local homeless charity Winchester Churches Nightshelter which is located on the site of the original Burberry factory. The Fashion Marketing programme FEAST team exhibited ‘Feast Yo Eyes’ that included a series of fashion films on display on campus and online via the FEAST website.
“The Golden era of The Working Girl” is a collection inspired by ‘Working Girl’, the 1980s all time classic film portrays power dressing at its finest, with exaggerated shoulders and bold silhouettes, this is what has inspired the collection along side early Escada and Versace. ‘The Golden era of The Working Girl’ a collection that is ostentatious with the attitude that ‘more is more’. Caroline has designed her own repeat patterns by using vintage horse brasses, this is seen throughout her collection. She likes to focus her attention to detail, part of her process is to source second hand items that she uses for styling and creates unique outcomes by customising them. At is at the core beliefs to Caroline to be as sustainable as possible, she achieves this by using recycled fabrics and natural fabrics.
To be inspired by one’s Welsh heritage and to experience a sense of ‘Hiraeth’ is to have a sense of one’s rich cultural tapestry, blended with an intense yearning and nostalgia for a time that has now sadly passed. The welsh saying “Mae Hiraeth arna i” translates to ‘there is Hiraeth upon me’; a heightened notion of a nostalgic place you can no longer experience. For me, this is wistful memories of a carefree childhood spent with cousins and siblings exploring the rich green hills that encompassed my family home, which in turn triggers long-dormant feelings. Images flood the mind, reminiscent of Wolfgang Tillman’s nostalgic and raw photography, so true to real-life – unposed and in the moment – exactly as a child would capture a portrait. Polaroid images of children, taken by children; showcasing the dress up and hairstyling of the time. A chronicle of the silhouettes of trends that have come full circle in fashion terms, intermixed with the ever-important annual donning of Welsh costume every March 1st, to mark the celebration of Saint David, the patron saint of Wales. Utilising this traditional concept I have created a seasonless capsule collection; where interchangeable pieces can work together or alone in timeless shapes that work year-in and year-out. Incorporating my passion for sustainable fashion was a must for this collection, which worked well for the concept of timeless pieces that are made to last and are created using materials that are traceable and produced ethically in the UK or are deadstock fabrics. These aspects coincide with my vision to reduce the negative environmental impact of the fashion industry. This collection aims to capture that sense of Hiraeth whilst adding a current day influence, and holding my sustainable beliefs at it’s core. Welcome to ‘Y2K meets the modern-day.’
Discovering the Krazy Kat Klub during the early stage of researching was a pivotal point for Sophie’s final collection. A sense of chutzpah is added through the 1920s speakeasy Krazy Kat Klub muse Katherine ‘Kat’ Mullen who pushed the boundaries of style, with stockings rolled down and above the knee skirts part of her everyday aire. The 1950s teddy girls were another influence within Sophie’s work, with other references to rebellion through the decades and modern architecture influencing the pleating and layering found within the collection. Every piece within Sophie’s collection has been pleated by hand using organic coon, denim and Sophie’s hand painted watercolour gingham print, of which adorns several pieces within the collection. With sustainability a main focus throughout Sophie’s work, it felt important to create a collection that had the option of being interchangeable, with the notion of lowering consumption. Sophie’s collection consists of six modular garments and 10 interchangeable pieces that can be swapped or attached onto each base garment to create over 28 different looks. Modular fashion really allows the wearer a sense of creativity, swapping the modular pieces to suit the wearers style and mood, in addition to allowing modular pieces to be replaced easily if damaged.
“From The North Side” Spring / Summer 2022 collection
The functional and feminine outfits are inspired by the factory working women of World War One, who were renowned for the lace that they would add to each of their own uniforms to highlight their individualism, as well as restoring the femininity that was taken away by working in the masculine munitions factories. The laser cutting used throughout the collection has been inspired by a family heirloom of handmade lace which is translated through the collection in a modern way. Her main inspirations for the collection come from her own core beliefs. Issues surrounding sustainability and the need for more organic fabrics in fashion are at the forefront of this collection. The outcome is practical, functional, but still feminine. The 2022 collection is aimed towards women in their 20s, and are designed for all manner of occasions. This versatility makes them comfortable and suitable not only for day-to-day life, but also for dressed up occasions. In previous collections, such as “Pretty Brutalism”, her colour palette has been darker and subdued. This time, however, she has gone for a lighter approach which appears more feminine, whilst also staying true to her spring release. The newest garments created by Lydia Vere are being showcased at a catwalk at Winchester School of Arts next month.
“Artist smocks and overalls tell a story of their own, as they don’t get perfected like the paintings.”
Wearable macramé garments and paint splash prints on organic cotton come together in this collection inspired by 1920s artist smocks. Soft earthy tones and drawstring features run throughout the collection, complimenting the natural rope of the macramé .
Nicola Rush is a womenswear designer based in Oxfordshire. Her final collection, called ‘Marietta’s Working Girl’ is an eveningwear collection that is due for release in 2022, is based on the work of Charles James and Claude Montana. Taking note of the elegance of the James’ work, and looking into the clients that he served, the muse of the collection is American socialite and political reporter, Marietta Tree. Marietta Tree showed that you could hold a prominent position in the workplace, while being a woman, in an era where the traditional role for women was in the home. Exploring women in the workplace, Nicola was heavily inspired by the 1988 film Working Girl, which explores the challenges and successes that women faced in the workplace. The film features the classic workwear attire of the time, including evidence of power dressing features oversized masculine styles on the female form, in particular large shoulders. Blending these topics together, ‘Marietta’s Working Girl’ features strong shoulders and tailored aspects of Working Girl and Claude Montana, and contrasting the masculine feel with more feminine lines of Charles James in the form of Corsetry and pleats. Sustainability is essential to any collection, and it has not been overlooked. All fabrics are either cotton or bamboo silk, and where possible, 100% cotton has been used, to minimise the number of synthetic materials present in the collection. This continues into the accessories, where inspiration has been taken from a vintage pearl necklace of Nicola’s mother’s, and sourcing vintage necklaces form the mid 20th century second hand online.
“Some women refuse to be a slave of routine; Mrs Beryl Swain of Walthamstow in London for example not only holds down an office job and runs a home but also has an unlikely hobby, motorcycle racing, and she’s good at it.” This collection is inspired by the wonderful life of beryl swain and her groundbreaking work in the motorsports industry to break gender stereotypes and prove that there is no such thing as a ‘mans world’. Much like Amelia Earhart, the first woman to fly transatlantic and Bertha Benz, the first woman to drive a car long distance, Beryl swain inspired the nation and a whole new generation of women to achieve any endeavour that they set out on when she became the first woman to complete the Isle Of Man Tourist Trophy in 1962. Throughout my collection I have tried to play on the traditional materials found with in the biking industry by sourcing sustainable leather alternatives such as remnant, recycled and end of roll leatherette, end of roll ex-designer waxed cotton and recycled lycra. I stuck with a singular colour scheme and minimal fabrics throughout my collection to further emphasise the idea of flexibility in one singular entity being able to become anything it wants to be. By using traditional motorcycle gear techniques such as pin-tucking combined with a more tailored silhouette I was able to create a fresh and modern ready to wear collection. Chrome fastenings and trims can also be seen throughout the collection as a subtile nod to the metallic accents on beryls highly tuned Italian manufactured 50cc Itom that rode her into the history book in 1962. No matter who or where you are, always spread your wings like Earhart, kick it up a gear like Beryl, and be a BAD B*TCH.
This collection explores the abstract, raw imagery found in examples of “Outsider Art”, a term that is used to describe the art of self-taught artists whose work has been created outside of the mainstream art world or institutions. This genre of art is usually created by psychiatric patients and children, who are not connected with art traditions and history, and use their media solely as a means of emotional expression.