Remarkable Fashion Steps and Soundtracks of Stitch

Backstage, minutes before showtime, the air thrums with nervous energy and the sharp scent of hairspray. Models squeeze into bespoke pieces while makeup artists dust final touches of powder across cheekbones. Safety pins appear like magic, lipstick is reapplied, and collective deep breaths are taken. In the wings, months of research, late-night pattern cutting, and personal revelation wait to walk into the light. The Westminster BA Fashion Show 2025 delivered a powerful mix of innovation and individual expression. Read more in Remarkable Fashion Steps and Soundtracks of Stitch.

Images by @Imageplotter

The third week of June brought Westminster’s graduate fashion show to Central London. This wasn’t your typical graduate showcase, no forced themes or curatorial heavy-handedness. Instead, what emerged was something far more interesting: a generation of designers who understand that clothes are personal, that sustainability isn’t a marketing term but a creative constraint, and that the most radical thing you can do in fashion right now is tell the truth.

Xiaoting Chen’s The Grid Sings translated medieval musical notation into sophisticated fabrics and fluid silhouettes.

Anibal Hernandez-Palacios Caro explored Spanish Golden Age mastery, creating monumental forms through hand pleating and crochet.

Ellie Roberts advocated for slower fashion with Wyrcean, transforming Cornish farm fleece through hand felting.

Anruo Gao captured the sensual boundaries between desert and water in Touching Boundaries.

Misa Ricchiuti challenged Milanese masculinity with Sii Uomo, creating expressive menswear that transcended gender norms.

Paris Otuyelu celebrated Nigerian heritage in Aso-ikele, merging traditional Agbada robes with Western silhouettes.

Cheng Qian’s Flamescape collided military uniform detailing with Buddhist draping.

Holly Laidler subverted vintage glamour in Hotsy Totsy, fusing 30s opulence with 40s military styling.

Angelika Deopante created whimsical femininity in Kasal sa Camden Town, celebrating her Filipino heritage through butterfly sleeves and orchid motifs.

KJ Tantivachyanon created transformable outdoor wear that seamlessly merged mountaineering functionality with delicate, handcrafted details.

Azeika Nelson wove memory and melancholy into menswear using patchwork, corduroy, and vintage football symbolism.

Sumin Sim fused Korean tradition with 1920s elegance in pieces that glowed with silk, beading, and poetic detail.

Lily Rose Murphy reimagined naval uniforms with repurposed sails, signal flags, and a nod to seafaring legacy and sustainability.

Adele Feeley turned lingerie and horror into defiant fashion with latex, leather, and glossy, provocative surfaces.

Xiwen Zhang created cosmic futurism in Nostalgic Futurism, referencing 60s sci-fi and space exploration.

Kasper Feng addressed contemporary burnout in The Beauty of Fragility.

Rachel Ahonaruogho paid tribute to jazz and her late father in Legacy in Rhythm.

Siena Seung-Eun Cho captured pandemic dress codes with Zoom-Proof.

Ilaria Puckett pushed zero-waste methods in Infinite Columns, inspired by Brâncuși’s sculptures.

Willow Selby-Willis evoked cabaret glamour in Belle Époque.

Hanwen Zhang explored nature reclaiming structures in Order within Chaos.

Kate Bigwood fused mourning traditions with streetwear in Till Death Do Us Part. 

Rowan Hunt reimagined Gothic architecture through androgynous silhouettes in Tracery.

Rebecca Halpenny subverted Irish heritage with fetish elements in Inherit the Lash.

Rosa Bonner-Morgan captured Guernsey’s natural beauty in Tout emmitoufler.

Sacha Roche explored multicultural identity in Me oi.

June Jeong reinterpreted Japanese craft techniques in Nokori.

James Rowland created regenerative fashion in The Spring Will Come.

Joseph Inga meditated on Sicilian identity in Misilmeri, transforming personal nostalgia into universal beauty.

What distinguished this year’s show wasn’t just individual brilliance but the collective understanding that fashion must mean something. These designers weren’t trying to reinvent the wheel; they were asking why the wheel matters, who it serves, and how it can be made better.

Westminster has always been known for producing graduates who think differently, but the Class of 2025 feels like they’re thinking urgently. The future of fashion, it turns out, looks remarkably like the present, but with better questions and more honest answers.

Together, these 29 designers reflect a bold and thoughtful new wave in fashion; each collection adding its own voice to a diverse and ambitious graduating class.

Featured designers:
@xiaotiiiiing_chen, @ani caro, @elliealiceroberts, @echo.0o ,
@steadyresearch, @parisotuyelu, @facade_2000, @hollyylaidler ,
@xngelt , @k_j_knomjean, @azielk.a, @_ssuminn_, @lilyrmurphy,
@adele_feeley , @xixiiixix_, @kasper.yc, @rachelahonaruogho,
@se.sienacho, @ilariapuckett, @willowselbywillis , @maooo525h,
@kate.bigwood, @r.huntdesign, @rebecca_halpenny, @raomsealia,
@itsluubelle, @_junejeong, @jamesrrow and @josephtimondolfi. @robert.leach.fashion.

If you enjoyed reading Remarkable Fashion Steps and Soundtracks of Stitch. Then why not try Fresh isn’t Fast; A New Life Given to Clothes

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