Photography by Ezzidin Alwan

Back for the second time, the Swedish School of Textiles show brought with it innovate young designers. With 21 graduates, both BA and MA, we were treated to a diverse mix of fashion in the widest term. From abstract to minimal, the catwalk was alive with a diverse fusion of industrial fashion and unique textiles.

The show was vibrant, teasing us with Sofi Svensson’s intricately beaded masks that bleed down into corsets. Shape was distorted by Isabella Fallkirk as one model stepped out layered in foam to create the hard shapes of a cube.  Materials were distinct and as the collections filed out one after another, the boundaries of fashion were challenged.  Each designer interacted with them to create a spectacular show for all. With an abundance of styles and techniques on offer, here are the VFS blog teams highlights.

Madeleine Ayers on Isabella Fallkirk

Breaking the mould and the ice at the Swedish School Of Textiles graduate show; Isabella Falkirk’s cement-block-esque layered headpieces and garment creations started the show. Stone coloured book references, ring bound folder neck-braces; Falkirk truly created a homage to the term 9-5 and beyond in a series of office related creations with her collection aptly titled: 'Under Pressure'.”

Samantha Farr on Anna Lidström

“Woven plastic crinkled suits, transparent polyethylene smock dresses, hosepipe necklaces and cardboard bangles. Artificial imitations of natural materials were the basis for this imposing collection. Industrial materials were juxtaposed against the femininity of shape and flesh. The versatility of unorthodox materials was showcased as the designer addressed the issue of chemical innovation in fashion. The wonderfully named ‘Fraud Matters’ collection was a witty interpretation of eco luxury”

Rosanna Cole on Sofi Svensson

“The beginning of Sofi Svensson’s collection was quite surprising, as instead of a woman walking past, we met a strange alien creature. The face was completely hidden under a gas mask style headpiece and heavily embellished with silver and black beads, concealing the neck and draping down to cover the chest. The only human suggestion was small pink hands, which hung from underneath black billowing robes.”

Natasha Slee on Elin Eng(Ström)

“In Elin’s collection the suit has conquered the world. Goggle like face masks blinker the model from the thought of other fashions, while one sleeveless, armless suit entraps them. A model clutches handfuls of long hair, mourning the loss of her femininity. A bride appears, in a suit of white and bead embellishment. But a suit nonetheless; a conformity.”


Text: Samantha Farr

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