Charles Stewart Dora Kapus Eleanor Clappison Smith Eve Gardiner

‘I Am All of These, Not One of These. Some I Like, Some Loathe’ is the emancipation of the Modern Man. There is a focus on mental health, the history of masculinity, and with the influence of modern fashion, have been led to my discovery of the make-up of men. started this year in a personal crisis and capitalised on the questions asked myself through a time of struggle, it is a deeply personal project that features a concept journal under the same name. I have expanded upon the emotions and beliefs within myself, and with reference to texts such as ‘Masculinity in Crisis’ by Roger Horrocks, I have documented the changes that masculinity has undergone to present day, and what’s to come. The silhouettes, colours, and fibres within the collection have been decided by an imposter, one who has found the man in himself by the end of this creative journey. have discovered that embracing Vulnerability, Femininity, Aggression and Acceptance can have a positive impact on the modern male psyche.

As the world has gone through many important changes over the last 70 years, it seems that the one thing that has stood still is masculinity.

In my third year I was interested in the questions “what is it that really makes me the person I am?”, and “what are the objects/memories/places that have over time formed my identity?”. It was during this project that I realised that the place where I felt most at home and ultimately most myself was in my grandmother’s house, and I really wanted to transfer this feeling into clothing. She hasn’t thrown away anything since probably the 1960s, and her house is somewhat of a time capsule filled with objects from Socialist Hungary to today.

My graduate collection is an extension of this project, but instead of ‘recreating’ the aura of my grandma’s house through garments, it focuses instead on creating a world of my own by combining objects have found at her house with elements from 1960s Hungary including traditional Hungarian dress and culture.

Aside from being an attempt to preserve all the things love before they are ultimately lost, my collection also transforms the grief feel in connection to my country, and where it is at the moment, creating an imaginary world of what Hungary once was, or perhaps could have been.

‘The Ferns Conceived on the Giants Bed’ is a knitwear collection in celebration of Celtic folklore, festival and traditional British craft. Pagan rituals and sabbats informed my line-up, taking inspiration from the cycle of seasons, colour and texture in relation to each celebration.

I dyed the entire collection with the ancient method of natural dying to create a colour palette, using foraged and grown dye material native to British soil, most of which I collected myself on walks around Glasgow. The collection is primarily knitwear, consisting of techniques and fashioning methods developed to create shape and fluidity in my garments. Inspiration from traditional and medieval clothing informed my silhouettes and shapes within the knitted garments, whilst sacred standing stones circles informed my sewn undergarments.

These were sewn using simple zero waste pattern cutting methods drafted in natural fibres, and eco printed on the surface with the organically formed patterns of oak leaves. Sustainability is very important in my practice, so all yarn used had been donated from Barrie Knitwear and Todd and Duncan, and the fabrics either donated or ethically sourced. Thank you to Megan Vischer for the jewellery collection styled with my line-up.

ERCS – Eleanor Rosa Clappison Smith xxx

I will invest in my community.

I will be honest.

I will practice an ‘As Found’ approach.

I will transform.

I will limit production.

I will practice a zero-waste approach.

I will ensure accessibility.

I will reject gender.

I will practice design for disassembly.

I will reject functionality.

I will celebrate Scottish talent.

I will reject classism.

I will make a social statement.

I will create the ‘Avant Garde’. I will provoke change.

GLASGOW IS FASHION.

Within my practise as a fashion designer, focus on exploring Scottish heritage alongside sustainable initiatives. Throughout history highland wear has been reinvented to appeal to the newer generations. By combining aspects of this traditional wear with classic tailoring found in 1950s Glasgow, I developed a contemporary menswear collection for my graduate project ‘Interwoven Alba’. I design with the people in mind, ensuring the garments are long lasting through good wearability, adjustable fits, and enduring fabrics. Tackling textile industry waste, I upcycled donated knit offcuts from local textile manufacturers in Scotland, using them to design my own tartan. Surplus waxed cotton, its finish made of melted postconsumer plastics, makes up the majority of my garments. Being aware of and investing in the manufacturers and businesses working toward a sustainable future is a motive am keen to further explore as I progress within the fashion industry. Subsequently, my dissertation is a more personal deep dive into Scottish culture and its textile history. discover how interconnected my work is with regard to my experiences living in Scotland and explore the idea of merging the past with the present to design for a sustainable future.

My practice has come a long way. The labour of love that I have put into it clearly shows in comparison to previous years. My degree project explores comfort and glamour by creating ballgown silhouettes with sportswear details and leisurewear fabrics. was inspired by the journey of reconnecting to my childhood self, through play, princesses and physical freedom. I mainly worked with stretch fabrics like jersey, and lycra, adding a touch of shiny taffeta here and there. I explored waistband construction, triple necklines and cover stitching amongst other techniques. In total I have produced five garments. was my own muse, to meet my need for a marriage between comfort and style.

The 20-credit project that created is personal from a very different angle. It is about my grandmother and her Alzheimer’s. It was a collaboration between GSA and the Young Academy of Scotland.

My collection follows the storyline of a messy night out in Liverpool from the getting ready to the repercussions the next day.

I focus on the word ‘Bimbo’ which is derogatory slang defining a conventionally attractive, sexualised, naïve and unintelligent woman. I use hyper-masculine biker gang aesthetics such as leather, hard-ware and ass-less chaps, with exaggerated silhouettes within vintage motorbikes to subvert the meaning of Bimbo, iconising powerful women.

The focus on the word ‘Bimbo’ takes inspiration from superficial personas such as Paris Hilton, whose media-persona find so alien but fascinating. She allows herself to be perceived as a ‘dumb blonde’ but in fact has a genius IQ. Music has a huge impact throughout my creative practice, I look to powerful women such as Zumi Rosow, Madonna and Poison Ivy as muses for my collection.

Clad from head to toe in bitch pink, leather and PVC, these chaotic girls are called “Bel’s Bimbo Bikers”.

A special thanks to my parents Kath and Andy; Tutors Cavan, Tony and Christie and Technicians Ashleigh, Rachel, Dan and Emily for all your help and continued support.

As someone who is drawn to all things cute alongside narratives and creatures that have a darker aspect to them, realise that there are key interests throughout my life that carry both these elements. My collection combines the creepy and the cute through the subversive marrying of textiles and colour. Inspirations starting from Jan Svankmajer’s film adaption of Alice in Wonderland led me to create collages using images of taxidermy which were fed through an AI system to create unique dolllike creatures. These collages came to inform a myriad of design decisions, from distressed finishings to oversized silhouettes. Whilst wanting to bring back a playful dressing-up element of childhood and using the instinctiveness of layering, aprons became an important feature to the collection. The versatility of aprons played a part in developing shape within the garments, contorting themselves into sleeves, skirts, and trousers that tie into and onto each other. It became clear that there was a link between the colours present in my research, and those found in my personal wardrobe. This led me to revisit my own clothes when making colour and fabric decisions, re-enforcing the link between my research and my personal history. This collection has evolved from an interrogation to a celebration of the relationship between creepy and cute.